
* 



w^ 



NTENTS 



Hlbleaux-Vivants 

Living Portraits 
Living Statuary 

Punch and Judy 
Illustrated Ballads 
Charades 
Parlor Pantomimes 
Literary Enigmas 
5©ame History's Peep-Show 

Shadow Pantomimes 
The Science of Second Sight 
The Art Exhibition, &c. 



m 



'H.OWa-'U.-Nc. 



"M 



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mi 







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Sent Free of Postage on Receipt of Price. 



Dick's One Hundred Amusements for Evening 

Parties, Picnics and Social Gatherings. This book is fuH 
of Original Novelties. It contains : 



New and Attractive Games, clearly illtts- 
trated hy means of Witty Examples, 
showing how each may he most success- 
fully played. 

Surprising Tricks, easy of performance. 

Musical and other innocent sells. 

A] 



A variety of new and ingenious puzzles. 

Comical Illusions, fully described. These 
surprising and grotesque illusions are 
very startling in Vieir effects, and 
present little or no difficulty in their 
preparation. 

lEBBATED 




/ \ 



Pass (jjii^y^:. 
Book . 



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Copyright}!^. 



COPYRIGHT DEPOSm 



THE FLEXIBLE GIAlirT. A COMIO ILLUSIOBT. 

niustrated and explained by sixty fine wood engravings. 

lUuminated paper covers 30 Cts. 

Bound in boards, with cloth back 50 cts. 



i(§eat Jt'ree of f 08«:ag;e on Receipt of Price. 



I 



The Art and Etiquette of Making Love. A 

Manual of Love; Com-tsliip and Matrimony. It tells 

JSoio to Cure Bashfulness ; 
How to Commence a Oourtshipi 
How to Flease a Sweetheai-t or Love/; 
How to Write a Love-Letter,- 
Hoioto ''Pop the Question^'; 
How to Act Before and After a P^* 

posal; 
Holu to Accept or Reject x Proposalj 
Hoiv to Break off an Engagement; 
How to Act After an Engagement; 
Moiv to Act as Bridesmaid or Grooms' 

man; 
How the Etiquette of a Wedding and the 

After-Reception Should be Ohservedj 

And, in fact, how to fiiLfill every duty and me^t every contin- 
gency connected with courtship and matrimony. It inclndea 
also a choice collection of sensible Letters suitable for all the 
contingencies of Love and Comtship. 

176 pages, paper covers 30 CtS. 

Bound in boards, cloth back. 50 cts. 







Dick's Quadrille Call-'Eook and Ball-Boom 

Prompter, Containing clear dh-ections how to call out the 
figures of every dance, with the quantity of music necessary for 
each figm-e, and simple explanations of all the figures and steps 
which occur in Plain and Fancy Quadrilles. Also, a plain analy- 
sis and description of all the steps employed in the favorite 
round dances, Mly describing ; 



The Opening March or Polonaise, 
Various Plain and Fancy Quadrilles., 
Waltz and Glide Quadrilles, 
Plain Lancers and Caledonians, 
Oiide Lancers and Caledonians, 
Saratoga Lancers, 
The Parisian Yarieties, 
The Prince Imperial Set. 
Social and Basket Quadrilles, 
Nine-Pin and Star Quadrilles, 
Gavotte and Minuet Quadrilles, 



Mtirch and Cheat Quadrilles, 

Favorite Jigs and Contra-Dances, 

Polka and Polka Redoiva, 

Redowa and Redoiva Waltz. 

Polka Mazourka and Old Style Waltz, 

Modern Plain Waltz and Glide, 

Boston Dip and Hop Waltz, 

Five-Step Waltz and Schottische, 

Varsovienne. and Zulma L^Onentale, 

Galop and Deux Temps. 

Esmeralda, Sieilienne, Danish Danco^ 



AND OVER ONE HUNDRED FIGURES FOR THE "GERMAN ;" 

To which is added a Sensible Guide to Etiquette and Proper De- 
portment in the Ball and Assembly Eoom, besides seventy pages 
of dance music for the piano. 

Paper covers 60 cti 

Bound in boards. .....,,,...., - • 75 cta> 



Sent Free of Postage on Receipt of Price. 

Uncle Josh's Trunkful of Fun. A portfolio ol 

first-class Wit and Humor, and never-ending source of Jollity. 
COls'TAINIIs^G A EICH COLLECTIOlf OF 



Comical StoHes. Cruel Sells, 
Side- Splitting Jokes, 
Humorous Poetry, 
Qimint Parodies, 
Burlesque Sermojia^ 



JVtw Conundrunns, 
Mirth-Provoking 
Curious Puzzles, 
Amusing Card Tricks, and 
Astonishing Feats of Parlor-Magi*. 




This book is illustrated with nearly 200 Funny Engravings, an^ 
contains 64 large octavo double-column pages 15 ctSi 

Barber's American Book of Eeady-Made 

Speeciies. Containing 159 origtoal examples of Humorous and 
Serious Speeches, suitable for every possible occasion where a 
speech may be called for, with appropriate repKes to each. 



Presentation Speeches. 
Convivial Speeches. 
Festival Speeches. 
Addresses of Congratulation, 
Addresses of Welcome. 
Addresses of Coinpli/ment. 
Political Speeches. 

Pinner and Supper Speeches for 
Clubs, etc. 



Of-Hand Speeches on a, Yarict^ of 
Subjects. 

Miscellaneous Speeches. 

Toasts and Sentiments for Publican^ 
Private Entertainmsnts. 

Preambles and Eesolutions of Cow 
gratidatton, Compliment and Con- 
dolence. 



With this book any person may prepare himself to make a neat 
little speech, or reply to one when called upon to do so. They 
are all short, appropriate and witty, and even ready speakers 

may profit by them. Paper -50 cts. 

Bound ia boards, cloth back w 75 cts. 



Sent Free of Postage on Receipt of Price* 

The Amateur Trapper and Trap-Maker's 

Guide. -^ complete and caxefully prepared treatise on the art 
of Trapping, Snaring and JSTetting ; containing plain directions 
for constructing the most approved Traps, Snares, l^ets and 
Dead-Falls ; the best methods of applying them to their various 
purposes ; and the most successful Baits for attracting all kinds 
of Animals, Birds, etc., with their special uses in each case ; iu' 
taroducing receipts for preparing Skins and Furs for Market, 




!rh-3 entixe work is based on the experience of the most successftil 
Trappers, and on information derived from other authentic pro- 
fessional sources. By Stanley Harding. This comprehensive 
work is embellished with fifty well drawn and engraved illustra- 
tions ; and these, together with the clear explanations which ac- 
company them, will enable anybody of moderate comprehension 
to make and set any of the traps described. IT TELLS 



Uow to muke all kinds of Trapn; 
Moiv to make all kinds of Snares; 
Moio to Set and Secure Traps; 
Mow to Attract Animals from a Dis- 
tance; 
Sow to Prepare Baits; 
Pow to Bait a Trap; 



Sow to Trap or Snare all kinds of 

Animals; 
Sow to Trap or Snare Birds of every 

description; 
Sovj to Cure and Tan Skins ; 
Soto to Skin and Stuff Birds or 

Animals. 



It also gives the baits usually employed by the most successfol 
Hunters and Trappers, and exposes their secret methods of at- 
tracting and catching Animals, Birds, etc., with scarcely a pos- 
sibility of failure. Large 16mo, paper covers 50 cts. 

Bound in boards, cloth' back » 75 ctSe 



'How to Write a Composition . Tlie use of this hand- 
book -will save the student tlae many hours of labor too often wasted in 
trying to write a plain composition. It affords a perfect skeleton of one 
hundred and seventeen different subjects, witb their headings or divi- 
eions clearly defined, and each heading filled in with the ideas which the 
subject suggests; so that all the writer has to do, in order to produce a 
good composition, is to enlarge on them to suit his taste and inclination. 

I78 pages, paper covers 30 CtS. 

Bound in boards, cloth back -, 50 Cts. 



Sent IFree of Postage on Receipt of Price. 



The Magician^s Own Book. One of the most ex- 

traordinaiy and interesting volumes ever printed — containing 
the Whole Art of Oonjming, and all the Discoveries in Magic evef 
made; either by ancient or modem philosophers. IT EXPLAIlsTS 



AU Sleight of Hand Tricks; 
Tricks and Deceptions with Cards ; 
The Magic of Chemistry; 
Mysterious Experiments in Electricity 

and Galvanism; 
The Magic of Pnewmatics, Aerostatics, 

Optics, etc.; 
The Magic of Numbers; 



Curious Tricks in Geometry; 
Mysterious and Amusing Puzzles, and 

answers thereto; 
The Magic of Art; 
Miscellaneous Tricks and E^xyperir 

ments; 
Curious Fancies, etc., etc. 





The tricl^s are all illustrated by Engravings and Tables, so as to 
make them easily nnderstood and practiced. As a volume 
for the amusement of an evening party, this book cannot be sur- 
passed. Gilt binding, 362 pages $1,50 

East Lynne ; or, The Earl's Daughter. Li- 
brary edition, complete and unabridged. This novel is Mrs. 
Henry Wood's masterpiece, and stands in the very front auk of 
all the works of fiction ever written; it has scarcely a riv ' as a 
briFliant creation of literary genius, and is prominent among the 
very few works of its class that have stood the test of time, and 
achieved a lasting reputation. In originality of design, and 
masterly and dramatic development of the subject, East Lynne 
stands umivaJed ; it will be read and re-read long after the ma- 
jority of the ephemeral romances of to-day have passed out of 
existence and been forgotten. A handsome 12mo volume of 
598 pages, from new electrotype plates, printed on fine toned 
paper, and elegantly bound m cloth, in black and gold. . .$1.50 



DICK'S 



PAELOE EXHIBITIONS 



CONTAINING 



A LAEGE AN-D YARIED COLLECTIOJS" 



ELEGANT HOME AMUSEMENTS 

INCLUDING 

TABLEAUX VIVANTS, SIMPLE AND ELABORATE; LIVING PORTRAITS 

LIVING STATITART ; DAME HISTORY'S PEEP-SHOW J ILLUSTRATED 

ballads; dramatic and pantomimic charades; THE 

SECRET OF second-sight; PARLOR PANTOMIMES; 

THE ART exhibition; LITERARY ENIGMAS; 

SHADOW PANTOMIMES AND TRICKS ; AND 

PUNCH AND JUDY. 

WITH COMPLETE TEXT AN"D DETAILED DIEECTIONS 

FOB EENDEBING THEM 

EFFECTIVE AND SUCCESSFUL. 



* » 






NEW YOBK : 

DICK & FITZGERALD, PUBLISHERS, 

No. 13 Ann Stbeet. 



GrVH7 



CJopyright 1882, by 
DICK & FITZGERALD. 

All Bights Beseryed. 



PREFACE 



The primaiy aim of this additional contribution to the already exist- 
ing fund of Home Amusements is to provide materials rather more 
pretentious than the weU-worn routine of Dialogues, Charades, 
Impromptu- Charades, etc., and, by the introduction of Stage effects 
and other embellishments, to afford increased gratification to the 
sense of hearing by appealing at the same time to the sense of 



Exhibitions of this nature necessarily involve more or less prep- 
aration and elaboration, but the results attained will amply 
repay the efforts spent on them; and the further object of this 
work is to show how the varied list of entertainments contained 
in it can be arranged and carried out so as to obtain the best 
success with the least amount of outlay of time, trouble and 
expenditure. 

The Compiler is indebted for much that is practical, both of 
matter and detail, to the good offices and experience of Gr. B. 
Bartlett, Esq., whose name is widely identified with some of the 
most effective and successfol exhibitions of this nature. The fol- 
lowing prominent features in the contents of this book are either 
directly from his pen, or mainly derived fi:om him, with additions 
and adaptations of minor importance: 

Tableaux, simple and elaborate ; Living Portraits ; Living Statu- 
ary; Illustrated Ballads; Parlor Pantomimes, and Charades. In 



4 PREFACE. 

some of these a few new subjects and illustradons have been 
added to the original matter, and in the Pantomimes, the 
descriptive action has been re-arranged and pnt in dramatic form 
for the purposes of greater precision. 

The Illustrated BaUads form a very pleasing and effective 
exhibition. The text of the baUad is read or sung, while the 
tableaux, illustrating successively each ''situation" as it occurs, 
are displayed at the proper moment. 

The Living Statuary, in imitation of marble groupings, opens a 
wild field for artistic taste, and, when rightly managed, presents 
one of the most elegant and effective art exhibitions. 

The remaining articles, both dramatic and spectacular, are 
original, and aU thoroughly described in every point of detail 
necessary to render their performance entirely successful. 

The humors of the " Axt Exhibition," are cuUed from the best 
and most telling ''collections" that have hitherto been exhibited, 
introducing a number of new and original features. 

The "Wonders of Second-Sight, so incomprehensible to those who 
have witnessed its marvellous and apparently supernatural effects, 
are explained in a condensed form from an article in "Scribner's 
Monthly," and the surprising effects produced are now only lim- 
ited by the ingenuity and powers of memory possessed by the 
operators. 

The greatest care has been exercised in the selection of the 
exhibitions and amusements for this work; and combined with 
much that is elegant and instructive, the humorous element forms 
a marked feature in its contents, while nothing has been admitted 
which would jar on the sensibilities of the most fastidious. 



CONTENTS. 



PAKLOR TABLEAUX VIVANT8 9 

Peepabing thh Stage 9 

SmFLE Tableaux Vivants and Fkamb Pictubes 12 

Faith, Peace and Globy 15 

Milton at the Age of Ten 15 

The Pbxde of the Market 16 

Rebecca at the Well 16 

Love's Disguises , .... 16 

Catawba, Little Nell and heb Geandfathek 17 

Roman Giels at the Shbine of St. Agnes 17 

Yes, OB No 17 

loNOEANCE 18 Bliss. In Three Scenes 18 

The Angel's Whisper 18 

Chabitt 19 

LIVING PORTRAITS 20 

Aet and Abttfice 20 

The Magio Mibeoe 23 

elaboPvATe tableaux vivants 26 

How TO Obganize a Company 27 

Stage, Sceneey, Costumes, eto 27 

How to Make a Boat 80 



6 CONTENTS. 

THE TABLEAUX 32 

The Progkess of Music 32 

Br THE WATEK3 OF BABYLON 32 

The Bbidal of the Sea 33 

Hagar 33 

Too Late for the Stage 33 

The Family Jewels , 34 

Heemione ; or. The Living Statue 34= 

The Washing Day 34 

The Return from Harvest 34 

The Triumph of Agriculture 35 

Behind the Scenes -. 35 

Life of Mary Stuart. InFourScenes 36 

The Lily Maid of Astolat 87 

Cleopatra on Her Way to Meex Marc Antony 87 

Cordelia and King Lear 38 

LIVING STATUAEY 39 

Monumental Group 42 

The Angel of Sleep 43 

Nydia, The Blind Girl of PoMPEn 43 

The Christian Graces , 48 

Caractacus 44 

Justice, Mercy and Peace 44 

Maud Muller 44 

DAME HISTOBY'S PEEP SHOW 45 

Scenes from the Life of Joan of Arc 45 

John Smith 49 

Scenes in the Life of Beatrice Cenci 51 

VISIONS OF SHAKSPEARE'S HEROINES 62 

ILLUSTRATED BALLADS 54 

AuLD Robin Gray 54 

The Mistletoe Bough 57 

ViLLIKINS AND HiS DiNIAH 59 



CONTENTS. 7 

CHARADES 62 

Jewels. Three Scenes 62 

NoBMA.. Three Scenes '. 64 

CoNtTNDRTJMS. Four Scenes 65 

Indolent. Four Scenes 65 

Dbamatic. Three Scenes 66 

Tell-Talk. Three Scenes 68 

PANTOMIMIC CHARADES 72 

Knighthood. Three Scenes 73 

THE SECRET OF SECOND-SIGHT 74 

PARLOR PANTOMIMES 84 

LoYK IN Ambush 88 

The Miseb's Supper 93 

The Sleeping Beautx 97 

Jack's Triumph ; or. Love Under Obstacles 105 

THE ART EXHIBITION 113 

Catalogue of Works of Art 114 

lITERARY ENIGMAS 124 

PUNCH AND JUDY 128 

The Drama of Punch and Judy 133 

SHADOW PANTOMIMES , 141 

The Feejee Islandbrs at Home 148 

Ah Sin IN Seabch of a Meal.............. .-. ..155 



DICK'S 

PARLOE EXHIBITIONS. 



PAELOE TABLEAUX YIVANTS. 

Prex3aring the Stage. 

The arrangements for an evening's performance of tableaux 
vivants, or living pictures, afford a scope for almost unlimited 
expenditure, or may be made effective and pleasing at compara- 
tively trifling expense. We quote the following general 
directions from an article on the subject in a popular work on 
Parlor Amusements : * 

" Where the means will allow, a platform stage, with foot- 
hghts and some scenery, is the most desirable; but if this 
cannot be managed, a parlor with folding-doors will make an 
excellent stage, while the other parlor, opening into it, makes 
an appropriate auditorium. In either case the following direc- 
tions will be found useful in the arrangement of stage, scenery, 
furniture, curtains, background, costumes and light. 

'^ It must be borne in mind that a tableau vivant is a living 

♦What Shall we do To-night ? Published by Dick & Fitzgerald, New York. 



10 PABLOE TABLEAUX VIVANTS. 

picture^ and is intended to resemble; as closely as possible, a 
painted pictnre upon a large scale. Artistic rules and taste 
are therefore invaluable in tlieir direction, and tbe stage-man- 
ager should have an eye for color, graceful grouping, and general 
effect. Light and shadow, bright and sombre coloring, must 
be contrasted and combined to make the pictures perfect. 

^^ The first requisite is a frame, which must fit exactly into 
the front of the stage, whether this is a raised platform, or 
merely a parlor. Four pieces of wood, an inch thick, and about 
one foot in width, are neatly joined at the corners, and over the 
entire open space is fastened a coarse black lace, through which 
ail the pictures are to be seen. The wooden frame must now 
be covered with glazed cambric, bright yellow in color, which 
is drawn tightly over the wood and fastened securely, being 
neatly dravm over the edges. At regular intervals fasten large, 
full rosettes of the cambric. It is a great improvement, though 
not necessary, to mix black with the rosettes, and carry a nar- 
row strip of black all round the inner and outer edges of the 
frame. Upon the inside of the frame fasten several curtains of 
colored gauze, blue for ghostly scenes, and rose-color for fairy 
scenes. Arrange these so that they can be lowered or raised 
easily when required. The frame is now ready to put up. 

^^ If you have a pair of full, handsome crimson curtains, they 
are very effective placed upon a bar inside the frame, about 
one foot from it, and looped at the sides, high enough to clear 
the heads of the performers. The drop-curtain (to be raised 
and lowered) should be hung about two feet from the firame on 
the inside. 

^' "When your frame is up, fasten at the sides and top rods 
with gas-jets; or, if gas is not available, lamps should be 
located, at regular intervals, to light the tableaux. 

^^ The frame now beiug ready, stretch across the sides of the. 
stage and background dark gray or brown muslin, or woolen 
cloth, so as to shut out all objects behind the frames. 



PABLOB TABLEAUX VIVANTS. 11 

^'The best arrangement for a background is to stretcb a 
strong wire down each side of the stage, and another one across 
the back, from which the dark muslin or woolen curtains hang 
down, forming a complete enclosure behind the frame. The 
wires should be placed so as to leave free passage on each 
side of and behind the enclosure, and furnish a space, out of 
sight of the audience, for putting away farnitm^e and propierties, 
etc., when not in use. 

'^ If the parlor is used as a stage the floor should also be cov- 
ered with plain dark cloth, that can be removed when the scene 
requires a parlor carpet. 

^^ It must be remembered that carpet and background must 
be of woolen material, or unglazed cotton. Any material that 
will shine in a strong light will ruin the effect of a tableau. 
Woolen is by far the best, as it completely absorbs the hght, 
and hangs in uniform folds. 

'^ In grouping, the colors must be very carefully selected to 
prevent either glaring or gloomy effect. Often a i)iece of gay 
drapery thrown over a chair will enliven a picture where all 
the figures are in the dark evening-dress of a gentleman of the 
present day, but where ladies are grouped their own dress is 
usually sufficiently bright. 

'•'■ Never bring two bright colors against each other. If they 
are necessary in the same group, introduce between them some 
white, black, or neutral-tinted drapery. If they are light as 
well as bright, use gray or brown to harmonize them. 

^^ White should always be sparingly and judiciously used in 
tableaux, and should be of either very glossy fabric, or very 
thin material, as tulle, book muslin or lace. Thick white ma- 
terial, hke lawn, marseilles or pique, is not effective in tableaux. 

^^ The arrangement of color in tableaux must be governed by 
the same rule as in painted pictures, and it must be borne in 
mind that not only the personages who are grouped for the 
picture are to be considered, but the accessories and back- 



12 PABLOR TABLEAUX r WANTS. 

ground will also strike the eye of the spectator at the same 
time." 

Simple Tableaux Vivants, and Frame 
Pictures. 

We will now give a few plain directions by which effective 
scenes can he arranged in any room with but little trouble or 
expense. 

Necessaet Mateeials. — Ten wooden boxes of various 
sizes. 

Two half-length picture frames. 

Twenty feet of annealed wire. 

Two dozen curtain rings. 

Twelve large lamps^ or a gas-rod twelve feet long, with fif- 
teen five-foot burners inserted at regular intervals upon it. 

Six yards black tarletan-muslin. 

Some narrow pine boards. 

The Stage aio) Frames. — If the room has no folding- 
doors, a thick curtain or bed-quilt must be contrived to draw 
across the room at one end, leaving a space about fifteen feet 
deep for the stage. This space is draped with curtains of ma- 
roon or dark-colored stuff, by stretching vnre across the sides 
and back of the stage near the ceiling, and hanging them by 
means of rings firmly sewed upon the upper edge of Hie cloth. 
This will form a square room draped all aroimd, except in 
front. Then procure four upright pieces of narrow board, just 
the height of the room, for posts ; screw two of the posts, one 
on each side, on the back of each frame, so that when each 
frame is raised upright upon its supporting posts, the bottom 
of both frames will be four and a half feet from the floor. Set 
the posts, with the frames upon them, upright, two and a half 
feet in front of the back wall, and secure them, leaving a dis- 
tance of four feet between the frames. Then nail four strips of 



PABLOB TABLEAUX VIVANTS. 13 

board five inches wide, to form a larger frame between the two 
smaller ones ; the dimensions of the large frame are six and a 
half feet in height between the top and bottom striijs which 
from the frame ; the width^ four feet, the same as the distance 
between the two smaller frames, and the bottom strip two and 
a half feet above the floor. 

When this is completed, it will present the appearance of a 
large frame between two smaller ones. 

Cover all the space above and below the frames with cloth 
of the same color as that upon the back wall, so that the frames 
will appear to be hanging upon the wall. 

Behind the frames, erect a platform two and a half feet above 
the floor, upon which the performers are to stand. 

If gas is available, fasten a rod, with burners upon it, over 
the top of the curtain or folding-doors . The best way is to 
make for it a shelf supported upon two posts about eight feet 
high. Over the burners, and behiud them, tack sheets of com- 
mon tin, bent so as to throw the light down. If you cannot 
get the tin conveniently, fasten behind the burners a white 
sheet, which will serve the purpose very well. If the curtain 
does not come to the ceiling, a shawl or thick cloth must be 
put above it, so that the light cannot show over the curtain into 
the darkened room where the audience sit. When gas can- 
not be had, and kerosene-lamps are used, holes must be made 
in the board to fasten them firmly in their places. 

Next make a veil of black tarlatan-muslin large enough to 
cover the space before the folding-doors or posts which sup - 
port the curtain. 

The construction of the frames will be clearly understood by 
examining the diagram on the next page, in which all the de- 
tails of measurements and the relative positions of the frames 
are very plainly exhibited in skeleton form, previous to apply- 
ing the covering which hides all of the construction except the 
three picture frames, 



14 



PABLOB TABLEAUX VIVANTS. 



A 


B ' 


B 


B 


A 


\ / 


4 Feet 
I- 

LU 

M«t 


\ 


/ 


\ 


/ 




3 Feet 

F- 
U! 
UJ 
Li. 

CO 


3 Feet 

K 
UJ 
UJ 
L. 

CO 




/ 


\ 


/ 


\ 


A 


c 


c 


A 


B 

Ui 
Ul 

Hlf, 


/ \ 


B H- 
UI 

UJ 

-IN 


Ul D 



PLAN F.OR THE FEAMES. 



A A A A, four posts set upright from floor to ceiling, two and 
a half feet from hack of stage, and at distances apart marked 
on diagram. 



PABLOB TABLEAUX VIVANTS. 15 

Spaces marked B to be filled in with material to matcli the 
drapery back of stage. 

Dotted line C is the raised platform behind the three frames 
upon which the performers stand. 

Faith, Peace and Glory. 

Construct a cross of board, six inches wide and about seven 
feet high, the cross-bar being two feet six inches long. Cover 
the cross with white paper or muslin, and nail the foot of the 
cross against the back of a box to serve for a pedestal, and also 
covered with white. The box and cross are placed in the back 
centre with another box of the same size behind it, so that the 
foot of the cross will appear to be inserted in the centre of the 
pedestal. 

Faith stands upon the pedestal, her right hand resting on 
the bar of the cross, and her left hand around the staff, or 
upright portion of the cross. 

Peace lies at the foot of the cross holding a white dove in 
the right hand ; the drapery of Peace and Faith can be made 
of cotton sheets. 

Fame stands in the foreground on the floor holding a large 
trumpet; her dress is made of turkey red, plaited in front and 
falling in plain folds to the feet. For this scene a chant may 
be sung. 

When the audience have seen enough of this, lower the cur- 
tain. The assistants rapidly clear the stage, draw away the 
curtain which hides the picture, and, in one minute, the audience 
behold, to their astonishment, a set of tableaux. In one frame, 

Milton at the Age of Ten, 

by a girl with a round face, and-hght, wavy hair falling upon 
her shoulders in front, flat-top cai^, pointed paper collar, velvet 
basque; in the other corresponding smaller frame. 



16 PABLOB TABLEAUX VIVANTS. 

The Pride of the Market, 

a dark-liaired young lady, rustic hat, white waist, bodice cut 
out of red flannel ; she holds on her left arm a basket of apples, 
and in her right hand the largest apple of all. In the centre, or 
large frame, we have 

Eehecca at the Well, 

a tall, dark-complexioned girl, m loose, flowing white robe, 
fastened at the waist by a red girdle. Hair hanging loose over 
her shoulders. She stands with right foot shghtly advanced, 
erect, with a red water vase poised upon her head, and steadied 
by her uplifted right hand— her left hand resting on her 
girdle. 

Throw light from the left side with a common reflector. 
Turn the light on at top, and the pictures look as if they were 
painted. 

In order to vary the entertainment, the next wUl be a comic 
scene: 

Love's Disguises. 

A pretty girl in calico is washing at a tub at the right side of 
the stage ; a fop is looking at her through an enormous eye- 
glass ) he is dressed showily, with white hat and cane. In the 
next scene, the maiden is sitting on a chair in the centre, and 
a cunning little Cupid aims his great tin bow at the fop from 
the wash-tub. 

In the meantime, the assistant has filled the frames again, 
and when the curtain is again raised^ the audience behold 



FABLOB TABLEAUX VIVANTS. 17 

Catawba, Little N*ell and her Grand- 
father, 

and Little Bo-Peep. Catawba holds a glass half full of vine- 
gar ; light flowing hair, white dress, with grape-leaves. Bo- 
Peep ; high sugar-loaf hat made of red paper, calico dress 
tucked over red petticoat ; holds a crooked cane. Nell ; cahco 
dress, broad hat. Grandfather leans on her shoulder, cane in 
right hand. And then 

The Eoman Girls at the Shrine of St. 
Agnes. 

The saint, in white, stands in the large frame ; before her on 
the stage two boxes covered with a sheet form the shrine, on 
which stands a cross, made of unpainted wood, two feet and a 
half high. One dark Eoman girl holds a wreath of flowers over 
one arm of the cross ; another kneels at the other side, passing 
to her a basket of flowers ; a thhd kneels in prayer at front of 
stage, telling her beads ; a fourth stands in the comer of the 
stage at back, holding a sheaf of straw. Dress : black, brown 
or red skirts ; black bretelles over white waists ; long white 
towels on heads, folded three times the longest way, and placed 
flat upon the head leaving the rest to hang down behind. Con- 
cealed singers sing " Ave Sanctissima." 

The next picture is, 

Tes, or "No. 

i 

A young lady stands with her left side and profile to the au- 
dience. Her left hand is behind her, holding a letter. In her 
right hand is a pen (quill is preferable), the feather end between 
her lips, and her face deeply meditative. 

By this time the audience vdll be ready for something to 
laugh at, so we will have a French Peasant Scene, entitled, 



18 PAELOB TABLEAUX VIVANTS. 

Ignorance is Bliss in Three Scenes. 

Scene Fiest. — At the left of the stage, an old lady is 
asleep in a high chair. She is dressed in black, or in any iDlain 
dress; wears a white apron, and has a white shawl folded 
across her shoulders ; also a high cap and spectacles, which 
have fallen upon her nose. At the right, a giel sits at the 
spinning-wheel. She has on a bright, short skirt, white waist/ 
red or black bodice ; on her head a cap of lace gathered in a 
rosette with very long ribbons streaming from it; on her 
arms she has three ribbons, one at two inches above the 
wrist, the next below the elbow, the third near the shoulder. 
A YOUTH is kneeling at her feet, holding her left hand. She 
looks archly at him, regardless of the unconscious grandmother. 
The youth has ribbons upon his arms like the girl ; he has no 
coat on, but bright suspenders joiued in front with two bars. 

Scene Second. — The lovers remain as before, except that 
the grandmother has wakened, and is just raising her broom 
with the intention of waking the young man also. 

Scene Third. — The grandmother holds the lovers apart at 
arm's-length by grasping one ear of each. The girl is crying 
at the left side, and the youth at the right of grandmother 
looks sheepishly down, with his finger in his mouth. Next, 
draw away the back curtain again, and show more pictures 
which the assistant has had time enough to prepare. 

In the centre frame stands ^^A Gleaner." In one small 
frame, a child with a red cape over her head, and a little basket 
in her hand, personates "Eed Eiding-Hood ;" and in the 
other, ^' A Marchioness." 

The next tableau in this series is 

The Angels' "Whisper. 

First Scene. — In a cot-bed, two little children are sleeping. 
One angel lifts the quilt at the right corner of the bed; at the 



PABLOB TABLEAUX VIVANTS. 19 

head, another angel, with clasped hands, is smiling upon the 
sleeping babies; behind the bed, upon a box in the centre, 
stands a third angel, with hands extended in blessing; the 
fomth angel Imeels in prayer at the foot of the bed. 

In the SECOND scene, the httle child who lay in front of tho 
bed is kneeling ; the highest angel places her left hand upon 
the child's shoulder, and points up with the right. The other 
angels turn and look in the same direction. The children are 
di^essed in night-gowns, the angels in white muslin; their wings 
are made of a wire frame four feet long, in rough imitation of 
the shape of a bh-d's wing, and are covered with coarse muslin ; 
the two wings are fastened together by a band of tin five inches 
long, pierced with holes for the elastic which confines them to 
the shoulders. 

Charity. 

Centre of foreground is an old beggar man, with a crutch, 
dressed in ragged and dirty uniform. One leg is tied up with 
bandages, and held bent at the knee, as if from a wound. One 
arm holds his crutch, while he holds his hat extended in the 
other hand. He stands profile to audience. 

Eight of foreground, a lady stands, facing audience, with a 
CHILD in her arms. The lady wears a rich morning dress, and 
lace cap. The child is dressed in white. The lady looks pity- 
ingly at the old beggar, while the child, leaning forward, is 
dropping a coin into his hat. 



20 LiriNG FOlilBAlXS. 



LIVING POETEAITS. 

An arrangement, similar to that for the foregoing portraits, 
can be made to represent full length impersonations. 

A frame six feet high and three wide, is fastened to two up- 
rights, the bottom of the frame being six inches or a feet above 
the floor, and the space aromid the frame masked by drapery ; 
the visible portion of the wall behind the frame being of the 
same material. A flat box or platform behind the frame, for 
the impersonators to stand upon, level with the upper edge of 
the bottom of the frame, should be covered with crimson or 
green cloth. Close in front of the frame, curtains are placed, 
extending across the entire room, and made to open in the 
centre so as to expose the frame only. 

Persons dressed in imitation of historical or fancy portraits, 
standing in the frame, one at a time, will have a very good 
effect, the front curtain being closed between each portrait. 

The representations may be made still more effective, per- 
haps, if they be made illustrative of, or incidental to, some dra- 
matic performance enacted in front of the curtains. The fol- 
lowing sketch will illustrate this, and serve to give some idea 
how it may be managed. 

Art and Artifice. 

CHAEACTEES. 

Angelo Easel, a portrait painter. 
Me. Pliable, his wealthy father. 

Scene. — A painter^s studio. A table, left, on ivMcli are brusheSy 
palette, sketches, etc. Centre of back are curtains to part in 



LIVING POETBAITS. 21 

tlie middle. Behind the curtain a tall picture frame. An 
old sofa or settee, ivith mattress on itj right. 

(Enter AjstgelO; left, disguised as a Yankee, followed ly Pli- 
able. ) 

Pliable. So, tMs is my erratic son's studio ? 

Akgelo {speaking zvith a Yankee twang). Yes, sir; this is, 
or was, our studio, bed-clianiber, bath-house, picture-gallery, 
parlor, Mtchen, library, dining-room and drawing-room. 

Pliable. And you were in his employ, eh? 

Ak"Gelo. Yes, sir-ee ; and a univarsel humahater crittur I 
was, too; I fetched colors, ground paints, peddled picturs, fed 
his kitten, made his bed (pointing to settee), slept in it when he 
didn't, went to market when there was any money, went with- 
out when there wasn't, cooked his victuals when there was 
anything to cook, and helped him to fast when there wasn't. 

Pliable. And do you mean to say that my son's mouth 
lacked a meal ? 

Akgelo. Yes, and it made him look quite mealy-mouthed, 
too, you may well cal'ate. 

Pliable. Well, where do you suppose he has gone to? 

Ajngelo. Gone to Em^ope, I reckon, where he can get a 
little more to do, an' a good deal more for doin' it; an' where 
he hopes to find more patrons an' more of a pappy. 

Pliable. More of what, sir? Zounds! what d'ye mean? 
Haven't I given him hundreds upon hundreds of dollars to en- 
able him to pursue his favorite study, and become an Angelo 
the Second, and, after all, what has he done ? I don't see a 
solitary painting ! No, not enough of colored canvas to stop 
up the pipe-hole over my mantel-piece. 

A:n"Gelo. Yery true, sir ; we don't show that to everybody. 
Just you stay here an' look when I draw an' close up yonder 
little pieces of calico [pointing to curtain), an' I cal'ate I'll 
make you open your eyes. [Aside.) And I hope your pockets, 



22 LIVING FOBTBAITS. 

too. (To Pliable.j ril show you wliat he's painted. (Goes 
hehind curtains.) 

Pliable. I shall be happy to hear of it, and still happier 
to see it. 

(The curtains part and discover Aitgelo, ivJio has changed his 
appearance entirely, standing in the large picture-frame. Pli- 
able starts in astonishment, takes out his spectacles, rubs them 
with his pocket-handkerchief , and gases in admiration.) 

Pliable. Why, bless me ! Why, that's really as natural as 
life, and — 

(Curtain closes. A succession of pictures are in like manner 
represented by Angelo, assisted by ladies, gentlemen and chil- 
dren ; the subjects or characters assumed being left to the taste 
and resources oftlwse assisting, either historical, comical, or fan- 
ciful. All sJiould be in complete readiness, to avoid delay, so that 
tJie curtain, which is closed during each change ofstcbject, may be 
raised again in a moment. The intervals, tvhile the curtain is 
closed, are filled up by Pliable's remarks, critical or commend- 
atory. The last picture is that o/AjjTGelo in his proper costume 
as an artist, with brush and palette, in the attitude of a painter.) 

Pliable. Eh ? What ! Why, bless my soul ! if the dear 
boy hasn't painted his own portrait to the life. What genius ! 
What industry ! What a triumph of art ! If the original 
were only as near to me now, I'd give — I'd give the half of my 
fortune. 

Angelo (springing out of the frame). And I'U take it, father, 
on the instant. 

Pliable (starting and trembling). A miracle ! What ! a 
living picture ? Here, here, Joshua, where the mischief's that 
Yankee man of his ? 

An"Gelo (Yankee dialect). Cal'ate I'm abeout, squhe ! 

Pliable. Eh ? the mischief— what ! have I been duped ? 
eh ? sold ? No matter -, I'm so glad that you are really here 
111 keep my promise. 



LIVING FOBTBAITS. 23 

AisTGELO. And I'll redeem mine by proving myself a real 
artist^ if our friends will forgive my artifice to-night. 

CURTAZtT. 



The Magic Mirror. 



This beautiful scene is intended to illustrate an old legend, 
which should be related to the audience in advance. 

A great X3rince once lost his beloved bride, who was stolen by 
the fairies. In despair he applied to a famous magician, who, 
for a handsome reward, agreed to show him a vision of his lost 
love. 

For this purpose he conjured up in turn many pictures of fair 
women, each one of which served only to increase the disap- 
pointment of the unhappy lover, until at last his enraptured 
eyes beheld the likeness of the lost lady in full bridal costume. 
Overcome with joy, the prince fell upon his knees before the 
portrait, which seemed to look lovingly upon him. The magi- 
cian waved his wand, and the i)icture seemed to start from the 
canvas and slowly become a living reality. 

She extended her arms to the happy prince, and they were 
united, never again to be parted. 

This scene can be produced in any room by using the frame 
prepared for " Living Portraits," but if it is desirable to pre- 
pare it hastily, place tables close against the back wall, to 
make a platform across the end of the room. Next procure two 
strips of wood, of a length just equal to the height of the room, 
and not over one inch thick and five inches wide. Lay them 
upon the floor, and fasten a large poptrait-frame on them with 
screws, in such a manner that, when raised, the lower edge of 
the fi-ame will be level with the top of the platform. This 
frame should be seven feet in height and five feet wide ; it can 
be made of pine boards five inches wide and half an inch thick, 
and covered with gilt paper or yellow paint, in case a real 
frame cannot be j^rocured. Fasten these strips upright in the 



24 LIVING POETBAITS. 

centre of the room, close in front of the platform, and drape all 
the space around it with dark shawls extending to the walls, 
the floor, and the ceihng. Hang a dark shawl behind the 
frame upon the wall for a background. 

The magician occupies the right side of the stage and the 
prince the left, each standing upon the floor in such a position 
that he can look upon the frame without turning the back upon 
the audience. The frame is, of course, between them, in the 
centre, and about two feet from the floor. 

The girls who are to appear as visions stand upon the i^lat- 
form, on the right of the frame, concealed by the drapery. The 
first one glides slowly across the frame from right to left, as 
slowly as possible, and with an almost imperceptible motion of 
the body. When she reaches the centre of the frame, she turns 
very slowly, and looks upon the prince, who makes a gesture of 
disappointment ; upon which she turns toward the left again, 
and disappears, ghding upon the platform behind the drapery 
at the left of the frame. 

As soon as she has disappeared, the second follows, and all 
proceed in turn in the same manner. 

The magician waves his hand as each one passes by, and 
whispers to them when they have reached the centre, so that 
they may know when to turn. 

When the bride appears to have reached the centre of the 
frame, the magician makes motions in the air with his wand, as 
if to recall her to life, and the prince kneels before her as she 
slowly extends her arms. 

Any number may particij^ate in this vision, as the curtain 
can be lowered while the persons upon the concealed platform 
are changed. The story should be related to the audience while 
waiting, and a waltz or march should be played upon the piano. 

The magician's robe may be made of a curtain, and his wig. 
and beard of cotton or wool. He should have a bright 
turban, and a cane wound with gilt paper for a wand. 



LIVING POBTBAITS. 25 

The prince should wear dark; short pantaloons, with long 
white stockings, loose white shirt trinuned with gold-paper 
fringe, and an opera-cape over the left shoulder. 

The girls should display as much variety as possible in their 
dress; some appearing with long trains and with powdered 
hair, and some in simple muslin. The bride should wear white, 
and, if possible, a long veil also. 

This entertainment has been produced in New York with 
great brilliancy, the details on one occasion being as follows : 

The prince — a handsome young gentleman, ui a costume of 
blue satin richly embroidered in silver — stood upon the left, 
and a member of the New York bar, dressed in a long crimson 
robe, occupied the right of the stage. A flowing white beard 
and wig concealed his features, and he slowly waved a golden 
wand in his right hand. 

A graceful lady, in a brilliant cherry-colored silk dress, 
glided across the frame so slowly that she scarcely seemed to 
move; and as the light gradually increased, she seemed to 
have come out of the shadowy background by magic. In 
the centre of the frame she turned toward the prince, show- 
ing her exquisite profile to the audience, and disappeared 
as she had come, seeming to melt away, an was followed by a 
stately lady in a rich dress of black and orange satin. 

Next came a queen in dress and presence, with crown and 
jewels to match. 

Then a train of court ladies in alternate blue, pink, buff, lilac, 
and scarlet costumes were followed by a lovely blonde in green. 

Strange as it may seem, to each one of these the fastidious 
prince showed his disappointment; but when the beautiful 
bride — attired in white satin, with a flowing veil— made her 
appearance, he fell upon his knees as she slowly bent forward 
toward hijn, and the curtain descended to the music of a 
dreamy waltz, which had accompanied the entire performance. 



ELABORATE TABLEAUX VIVANTS. 



ELABOEATE TABLEAUX VIYAS"TS. 

Directions for a Hall Entertaimnent. 

The importance of having a good time is too much aeglected 
in the hurry of the busy world; everythmg is therefore a real 
blessing which promotes sensible enjoyment, and does good at 
the same time by cultivatmg the thinkmg powers, and devel- 
oping a taste for art whUe it earns money for charitable pur- 
poses. 

In every village of our land talent lies dormant, and beauty, 
wit and grace need only organization to form a most attractive 
entertauiment, which, besides bemg profitable, wiU do more to 
promote social intercourse than a hundred formal meetings. 
In many towns ladies and gentlemen from the different 
churches unite each season to help each other. At a beautiful 
village on the Hudson a Unitarian Society numbering only six 
young ladies among its members, has for two successive seasons 
cleared five hundred dollars m this way by three days of easy 
and pleasant work. The pastor of a church of a different de- 
nomination said, at the close of one of these festivals, '^ Three 
days ago these ladies passed one another on the street without 
bowing, and now they borrow each other's finery with the fi.^ee- 
dom of old friends." 

Many energetic persons work hard to little pm^pose in this 
direction because they do not know how to begm, and for their 
assistance it is proposed to give plain directions fo;^ producing 
a performance which has cleared thousands of dollars this season 
for charitable purposes. 



ELABORATE TABLEAUX VIVANTS. 27 

Ho-w to Organize a Company. 

At the first meeting the folio wing officers should be chosen, 
none of whom should be performers ; a business manager, to 
attend to the advertising, sale of tickets and engaging the hall, 
door-keepers, ushers and orchestra ; the property man, who 
prepares all the furniture and small articles, and sees that 
everything is in its proper place for each scene ; the stage man- 
ager, who has absolute control behind the curtain, and attends 
to the choice of programme, distribution of parts and grouping 
of the scenes, as well as to the scenery and lights. Two ladies 
of taste as costumers should also be selected to see that each 
one is tastefully dressed and ready at the moment the scene is 
called, as delays are dangerous, and there is no excuse for 
them, as in no case should the audience be compelled to wait • 
over five minutes for any change. 

The next step is the distribution of parts, in which all jeal- 
ousy and ill-feeling can be prevented by arranging the ladies in 
groups according to the style of complexion. 

The best number for an elaborate performance is five blondes, 
six dark or oriental, three large for statues, six for court ladies, 
six with some comic talent for pantomime, also four gentlemen 
for pantomime, two for boatmen, two for court scenes, one child 
for statuary, one for Cupid and one for court scenes. The first 
meeting can be in any room, and two rehearsals upon the stage 
will be enough, unless elaborate pantomime is used, which 
must, of course, be committed to memory first, as it is worse 
than useless to rehearse them until every part has been per- 
fectly learned. 

Stage, Scenery, Costumes, etc. 

Every large town is now provided with scenery, but if none 
is available it is better to use simple black drapery than to 
attempt making any. 



23 ELABORATE TABLEAUX VIVANTS, 

A platform four feet high and three feet wide should be placed 
across the rear of the stage, and a frame seven feet high by five 
feet wide, made of six-inch pine board covered with gold 
paper, should be supported on upright posts in the centre of 
this platform. 

A curtain of black cambric with dull side out should cover 
the whole back of the stage, drawing in the centre to bring the 
frame in view when open, and to form a background for the 
statuary when drawn (see '^ Living Statuary ^''^ page 42), and 
another curtain must also be hung behind the frame. 

In front of this permanent platform a temporary one is made 
of three tables, about two feet wide and three feet long, placed 
lengthwise, with a space of ten Inches between the first and 
second. These are draped with white cotton sheets for statu- 
ary pedestals, and serve also for the deck of the boat, which is 
made in profile with a high prow and covered with gold paper 
with black stripes drawn upon it. ^' Hoiv to Make a Boat,^^ see 
page 30). It is kept in an upright position by leaning against 
the tables ; and boxes two feet high, covered with bright drap- 
ery, are placed at the prow, stern and centre upon the tables. 

To make the plan clear, it will be best to describe several 
scenes exactly as they should be presented, giving costumes, 
properties, scenery, lights, etc., for each. 

The performers are arranged in groups as above, the blondes 
in white muslin dresses made as simply as possible, with fall 
waist and angel sleeves ; the orientals in bright skirts, sleeve- 
less jackets or drapery of crape shawls, with turbans upon their 
heads, gold paper bracelets and chaius, with all the showy 
ornaments possible on the front of the dress. The ladies of the 
pantomime all wear quaiat calico dresses, with old-fashioned 
bonnets, hats and cloaks. The court ladies in silk train dresses 
with powdered hair. One court gentleman in showy velvet 
robe, and one in a cavalier dress with cape. The boatmen in 
flannel shirts, dark pantaloons and high boots. One fop and 



ELABORATE TABLEAUX VIVANTS. 29 

one old man, and the others according to the i^arts they fill in 
various pantomimes. 

The general dress described above is the one in which they 
all appear at first, and most of the second costumes are so 
arranged that they can be put on over the other with very little 
trouble, and when any change is called for, it will be described 
in its place in the scene. During the overture the statues stand 
at the left upper entrance, all the other performers stand upon 
the right of the stage out of sight, while the first scene is ready 
to be shown at the rising of the curtain. 

Pkopeeties. — Six boxes of various sizes, bow, trumpet, guitar, 
oar, stool, letter, axe, paper, pens and ink, sickle, basket of 
flowers, lily, basket of fruit, scythe, wood, saw and saw-horse, 
wheel, four chairs, wash-tub, churn, tables, umbrella, traveler's 
bag, bird-cage, musical instrument. I 

Light. — As the light is of the utmost importance, it is best 
to devote a httle space to a description of the proper methods 
of arranging and controlhng it. Every stage is fitted with at 
least three rows of border-lights, which cross the stage on the 
top, and with one row of foot-lights, which must act independ- 
ently of each other. For all pantomimes, plays, etc., which 
occupy the whole or front half of the stage, all these lights 
should be bm^ning in full. When the picture frame is used the 
foot-lights must be turned down one-half, and the border lights 
should be full. When colored lights are used, turn down all 
the stage hghts slowly, m order to bring out the colors by de- 
grees. A head-light of a locomotive may be used, placed at 
the right of the stage ten feet from the frame in an obhque 
direction, so as to be concealed from the view of the audience 
by the side scenes. Sheets of green, orange and red glass, six- 
teen inches square, must be placed in the centre of a wooden 
frame large enough to cover the opening of the lamp, so that 
no light can escape without passing through the colored glass. 
By the white light is meant that no colored shade is placed in. 



30 



ELABORATE TABLEAUX V IV ANTS. 



front of the lamp. The top light is indispensable, and it can 
be easily arranged by any gas-fitter, but in case there is no gas 
in the hall, a row of large kerosene lamps must be placed above 
the front of the stage with a sheet of tin behind each, to throw 
the light down upon the frames. Calcium or electric light is 
best when available, but can only be managed by a sldlled 
operator. 

How to Make a Boat. 



FlG.l 



\ ^'"'" r 


T -•■■■ /7 /•••" 


\\\ 


i:i I 


■■■■-.> 


ijj J 




To make a boat, which will be needed for many scenes, lay 
three boards upon the floor side by side, so that they will fit 
together very closely at the edge ; the dimensions should be 
about fourteen feet in length, ten inches in width, and half an 
inch in thickness. Planed white-wood, or clear pine boards, 
are the most suitable. Screw three cleats firmly upon these 
flat boards, one near each end, and one at the centre. Turn 
the whole over, and you have a flat surface fourteen feet in 
length and two and a half in width. {See illustration. Fig. L) 



ELABORATE TABLEAUX VIVANTS. 31 

Draw upon one end the profile of the bow of a boat, and upon 
the other the stern. Saw the ends carefully, foUowmg your 
drawing. Pamt the whole of a light chrome-yellow. Shave 
the upper edge into a slight curve, beginning eight inches from 
the bow, and descending to the middle, then ascending to with- 
in twenty-five inches of the stern. Then paint a black stripe, 
three-fourths of an inch wide, six inches below the upper edge, 
following as nearly as possible the curve ; and, six inches apart, 
two more stripes below it. Next shade the bow in black, also 
following the curve from the upper edge to a distance of Iwo 
feet from the lower edge. Saw out a figure-head and stern to 
fasten upon the ends by screws. {See Fig. 2.) , Stretch a strip 
of blue cambric, eight inches wide, across the front of the stage, 
ha^dng three wavy lines of white painted upon it for water. 
The boat is held up by the persons who sit behind it on boxes ; 
the sail is made of a sheet tacked upon a mast, which is held 
by a boy. 

When the boat is used for the " Lily Maid of Astolat," it is 
covered with black cambric. It is well also to have several prows 
and sterns cut out in x^rofile when needful to change the form. 
These may be fastened to the boat by cleats running into a 
groove, and will change the whole character of the barge. Orna- 
ments of gilt paper may be pasted on to assist this purpose. 
A water scene, or strip of blue cambric with white chalk lines 
drawn upon it, must be stretched across the stage in front of 

In all preparations for stage effect, it must always be re- 
membered that the efforts for decoration need not be very 
elaborate. Minuteness of detail is almost entirely lost when 
viewed from the distance of an auditorium. Those who have 
never been behind the scenes in the theatres, would be sur- 
prised to find, on close inspection, the means by which the 
most strikingly beautiful and apparently elaborate effects are 
produced in reality. 



33 TRE TABLEAUX. 



THE TABLEAUX. 

platform and pedestals having been arranged, 
p^nd the performers all properly costumed as described on page 
28, the following scenes are exhibited : 

The Progress of MltsIc. 

The tallest blonde stands at the prow of the boat, holding a 
long trumpet ; next another stands on the floor between the 
tables, holding an oar ; a lovely blonde with a pretty Cupid by 
her side kneels at a golden harp ; the fourth sits with a lyre at 
the stern, and the fifth stands upon a box above her with a 
tambourine. 

Scene Second. — The group is changed in the second scene by 
the Cupid being discovered kissing the harpist, thus creating 
evident discord among the players. Each one wears a scarf of 
cambric, of a different color, which is covered with gold paper 
cut in lace pattern, and is fastened on the right shoulder and 
falls to the feet. The boat is then taken away, and the pedestals 
are thus ready for the next scene, which is a group of orientals j 
entitled : 

By the Waters of Babylon. 

The tallest one, holding cymbals, stands on the right end of 
the tables, the shortest kneels, leaning against her with guitar ,* 
another cymbal player stands on the stage at right, with a tam- 
bourine player opposite her on the left 5 another sits on a box on 
the right of centre, while a venerable harper in black occupie^^ 



THE TABLEAUX. 33 

the centre. At first all look sad and liold tlielr instruments 
listlessly. Next all seem to be playing, and assume the most 
animated attitudes. The hght should be white and the music 
sad. The i^roperties used are cut from sheet tin and covered 
with gold paper. The blondes next appear in 

The Bridal of the Sea. 

At the prow a pretty child points out some object in the dis- 
tance to a lady who stands with her ; a second lady has her 
right hand on the shoulder of the Doge, who is in the act of 
dropping a ring into the water ; one lady is sitting, and another 
is standing witnessing the ceremony ; one boatman holds the 
oar, another the rudder of the boat ; a concealed choir sing 
'^ Beautiful Venice, the Bride of the Sea." 

C^" For the foregoing scenes a horizon scene alternates with 
the black curtain, but now this curtain is drawn away and the 
frame exposed in which the pictm-e of 

Hagar 

is represented by the largest of the orientals ; at her feet lies 
Ishmael, dressed in a loose white robe, and the tallest blonde, 
wearing a pak of wings, bends over them. Hagar is praying 
and the angel points upward with her right hand. The light 
must come from the top and one side, a,nd be white. Next the 
pantomime ladies enact 

Too Late for the Stage. 

- At the head of the line an old lady grasps the arm of an old 
man who stands with uplifted umbrella ; five others follow in 
line, each one bearing a band-box in one hand, and a bundle, 
bag or bird-cage in the other ; all look eagerly forward, then 
beckon vigorously, and finally rush out frantically in pursuit. 



34 THE TABLEAUX. 

Tlie scene is a wood and the music lively. The next picture 
will be called 

Tlie Fciinily Je^Yels. 

In the meantime the frame has been filled by two court 
ladies, one holding a casket of jewels, which she seems to be 
showing to the other, who kneels beside her. The light for 
this is the same as on the first picture. 

Hermione, or the Living Statue, 

is next shown ; the statue stands upon a draped table in the 
centre of the stage against the black curtains ; all the court 
ladies and gentlemen are grouped around in a semi -circle ; at 
a given signal the statue moves very slowly, first raising her 
hand, and then spreading her arms, at which the gentleman on 
the right moves forward as if receiving her in his arms. 

The pantomime actors will now be ready, by taking off their 
wraps, to appear in 

The Washing Day. 

One stands at a wash-tub in the centre, another at a churn. 
At a spinning-wheel in the corner sits an old woman, an old 
man tends a baby, and a girl is sawing wood at the left side. 
The scene is a kitchen, and ^^ Yankee Doodle " is played, at 
first very slowly and then faster and faster, and the characters 
keep time with the music until they get into very rapid motion. 
While this scene is going on in the front part of the stage, the 
tables and boat can be re-arranged, and 

The Return from the Harvest, 

shown by the orientals, who have had time to change their 
dresses to appear as Eoman girls, with a flat white cap, with 
white waist and bodice, and a long white apron ornamented 



THE TABLEAUX. 35 

with strips of cloth of various colors sewed across it. In the 
centre of the boat a youth without a coat, in knee-breeches 
with bright stockmgs, is lifting a large basket on to the head 
of a maiden who stands in the centre ; at the prow another lady 
stands, leaning on a sheaf of wheat ; at the stern a third holds 
a huge apple away from a httle boy who reaches for it, and a 
boatman with red cap stands at the oar, while a girl holding 
a rake sits on the side of the boat as if she had just jumped on. 
The scene is a horizon, and the singers chant a harvest homej 
the Mght is first white, then red. 

The Triumph of Agriculture. 

Ceres stands on a high pedestal, made by placing a box on a 
large table, and covering the whole with a dark cloth. Summer 
hes at her feet, scattering roses from her right hand ; Spring 
stands at the feet of Summer holding a lily. They are in white 
dresses. 

The first with trimming of wheat and poppies holds a sickle 
In her right hand and a sheaf of wheat m her left. Summer is 
covered ui front with flowers, and Spring wears green vines. 
Autumn, in a brown dress trimmed with bright leaves, sits at 
the right of Ceres holding a basket of fruit. Father Time, in 
white, with a long beard and wig, holds a scythe, and the fore- 
ground is occupied by peasants, some holding wreaths, and 
some sowing seeds, holding their aprons in the left, and their 
right hands extended. Any harvest chorus by concealed singers 
may accompany this scene. 

A very good closiug scene for this performance is called 

Behind the Scenes, 

upon which the curi:ain is supposed to have risen by accident, 
and aU the performers, dressed in the costume in which they 
last appeared, are grouped around in wild confasionj panto- 



36 ^ TSE TABLEAUX. 

mimists, court ladies and orientals, all together, seem discussing 
the performance. The properties are piled in a heap, and parts 
of several different pieces of scenery are shown. In the second 
scene they all sing in chorus as the curtain falls. 

In order to give variety for other nights' entertainments, the 
following scenes will be found useful : 

Scenes in the Life of Marie Stuart. 

ScEXE 1—Tlie Bival Queens. Queen Elizabeth dressed in 
trained silk dress with high ruff, stands e. pointing to Marie 
Stuart, who holds up her left hand as if deprecating the wrath 
of her cruel cousin. Marie Stuart wears black dress trimmed 
with white wax beads, a square head-dress of black. Pictures 
of these costumes may be found in any history of England. 

Scene II — Signing the Death- Warrant. Queen Ehzabeth 
sits at the right of a table, which stands in centre of stage, sur- 
rounded by her ladies of honor, who are dressed in similar cos- 
tume to her own. A large man stands behind the table, as if 
urging her to sign the warrant, which she seems unwilling to 
do. 

Scene III — Scene of the Execution. The queen kneels beside 
the block, which occupies the centre of the stage. She is en- 
gaged in prayer, and holds a small cross. She is attended by 
two gentlemen and three ladies in mourning. A priest at left 
corner of the stage lifts up his hand as if exhorting her. The 
executioner, dressed in red, stands by the block, leaning on a 
long axe. The block is covered with black cloth. 

Scene TV —The Execution. In the next scene, the queen has 
laid her head upon the block, and the executioner stands with 
uplifted axe. One of the ladies kneels at the right, and another 
has fallen into the arms of the third as if she had fainted. 



THE TABLEAUX. 37 

The Lily Maid of Astolat. 

In this scene, a beautiful blonde lies in the boat with her 
feet toward the bow ] her hair hangs over the pillow, which is 
richly trimmed with gold paper. She is dressed in white mus- 
lin; a red cloth covered with gilt paper is drawn to her waist. 
She holds a letter in her left, and an open letter in her right. 
A very old man, with flowing white hair and beard, leans upon 
an oar at the stern. T^liile this scene is shown, it is well to 
have a selection read aloud from Tennyson's ^^ Elaine," in which 
a full description of it can be found. 

A series of ta^bleaux accompanied with readings can be made 
from the ^' Courtship of Miles Standish," the most common of 
which are, the olfer to Priscilla made for Standish by, John 
Alden, and the wedding ceremony. Sometimes the whole poem 
is read and illustrated. Longfellow's ^^ Evangeline " has been 
superbly performed in the same manner, and is full of exquisite 
tableaux to which the reading gives new life. 

Cleopatra on Her Way to Meet Marc 
Antony. 

Cleopatra reclines upon the mattress and pillows, which are 
placed upon the board platform, near the stern of the boat. 
One attendant holds the helm ; two others hold the canopy 
above her head ; a fourth is passing the wine, and a fifth sits 
at the oar. The Cupid stands upon a high stool near the 
centre. Fame is upon a box at the bow, holding a trumpet ; 
and the sixth attendant, with the guitar, stands upon a high 
stool near the centre. Show this scene first in strong light, and 
next by moonhght and sunrise, as ex|)lain9d above. 

Cleopatra wears a loose white waist richly trimmed with 
gold- paper ; a cloth of gold covers her, and long chains hang 
from her crown, and extend from her dress to the bracelets 
upon her arms. The attendants wear loose waists of red, black 



38 THE TABLEAUX. 

and yellow ; tlieir skirts are concealed by the boat. All stiould 
wear gold chains and ornaments, which can be made of gold- 
paper. Another cloth is needed to cover the pillows, which is 
made by cutting gold paper into fancy figures, and sewing it 
upon lace. 

Cordelia and King Lear, 

Lear is seated in a high-backed arm-chair. His head turned 
slightly to his left and resting on a cushion ; his eyes closed ; 
his left hand resting upon his left knee, thumb upwards ; his 
right arm upon the right arm of the chair ; right hand hanging 
hstlessly downwards. 

Cordelia is kneeling on her right knee, close against Lear's 
left side ; her right wrist is passed under Lear's left wrist, and 
the fingers of her right hand resting on Lear's thumb. Her 
left elbow rests upon her bended left knee, her left wrist resting 
upon Lear's left knee, and her fingers clasping Lear's hand. 
Her eyes are gazing upon the physician. 

The physician stands bending over Lear's right side ; with 
his right hand he is feeling the pulse of Lear's right hand. His 
face wearing a pre-occupied expression, as though counting the 
beats of Lear's pulse. 

Costumes. — Lear is dressed in loose flowing robe, the lower 
edge of the skirt trimmed with ermine, and nearly covering his 
feet; sleeves verv large, and hned with ermine. Eyebrows 
and full beard, flowing and white. A white cloth bound around 
his head, the ends hanging down on each side of his head, the 
right end reaching nearly to his waist. If the feet are allowed 
to be visible, they should have sandals instead cf shoes. 

Cordelia — a loose white robe, with open sleeves. Her hair 
hanging loosely down, and a diadem upon her head. 

The physician is clothed with a loose fl^^ang robe with wide, 
open sleeves. His head bare, and a massi\^e gold chain around 
his neck, and hanging down over his breast. 



LIVING SIATVABY. 



LIVIIsTG STATU AET. 

TMs is by far tlie most difficult species of i)erformance for 
amateurs, but it is so effective when well carried out, that it is 
best to give in detail such ideas as have been slowly learned 
by long experience and a faithful trial of hundreds of expedi- 
ents which have each been rejected in turn, for the simple 
processes described, which carefully followed and not improved 
upon by taking other advice, will enable persons of taste and 
judgment to iiroduce living statuary in such a manner as to al- 
most rival the classic marble- itself. Indeed these groups when 
personated by persons of fine features and immovable muscles, 
have been repeatedly mistaken for the real, so that in two cases 
dehghted spectators have called the next day to see the statues, 
which were doubtless promenading the streets in their own 
proper persons. 

First it is exceedingly important to select ladies of fine fig- 
ures, large arms, and classic features. They must be able to 
stand perfectly still in the most difficult positions, and to have 
also a clear conception of the sentiment of their parts as the 
expression of face often shows through the powder which covers 
it. 

Many are the expedients off'ered by wise chemists for the 
purpose of whitening the faces of the statues : bismuth, mag- 
nesia, and many others, but we would advise nothing but com- 
mon velvet chalk, the kind that comes in round balls in square 
boxes, not the flat or oval shapes of which we know nothmg. 
Many have tried mixing this chalk with beer or gelatine, but 
this plan has proved less comfortable to the wearer, and this, 
round chalk rubbed on dry from the ball without previously 



40 LIVING STATUARY. 

covering the face with any preparation, is the only successful 
method "of whitening smoothly , completely and comfortably. 
After using, this must be rubbed off when dry and the face 
must not be wet, but must have a good coat of gelatine or vase- 
line and no inconvenience or roughness need follow. 

Tor most performances the best cast consists of two very tall 
ladies, one a little shorter, and one of medium height ; one large 
muscular man, and one girl about ten years old. These per- 
formers can personate all the parts as they resemble each other 
so closely when whitened that little is gained by changing the 
performers in the various groups. The man may wear a suit of 
cotton tights or a white close fitting merino woven shirt with 
cotton -gloves sewed into the sleeves. He wears around the 
waist a kilted sMrt reaching to the knee, made of white sheet- 
ing, and a close fitting cap made of canton flannel; he will 
need two cotton sheets to be draped from the shoulder in vari- 
ous ways. 

For a rtoinan costume, make a slit ten inches long in the 
middle of the sheet through which the head is placed. The 
sheet is then drawn around until the corner is in front, the two 
sides are then looped up to each shoulder and fastened with a 
round piece of pasteboard by tapes. 

The child wears a short frock or night-dress thrown over a 
tape around the waist; long white cotton stockings, cotton 
gloves sewed into the sleeves of the frock and a tight cap of 
cotton flannel. 

The ladies wear white plain tight fitting waists, very high in 
the neck, fastened behind, the sleeves of which are made of the 
legs of white cotton stockings, to which white cotton gloves are 
firmly sewed after they have been adjusted to the arms by sew- 
ing on the under side. No other method of whitening the arms 
is of use, and it was by this discovery that the success was 
first insured, for these sleeves show the muscles to great ad- 
vantage, and stiU preserve the needed whiteness when in tension. 



LIVING STATUARY. 41 

The caps are made of canton flannel, large enough to cover 
the hair, which is drawn into a bunch at the back of the head 
Uke the knot of Diana. Braids, bands, and waves are made 
of cotton wadding to put on with pins when it is desirable to 
alter the cciffrire. They wear white stockings and white shp- 
pers or sandals made of a cork sole, and scant skirts. In 
draping, the first sheet is tied around the waist with tape so 
that the end which has the hem touches the ground, the rest of 
the sheet hanging over in front. The lower portion of this 
sheet thus forms a close skirt and is drawn close behind and 
fastened. The left hand corner of the front part of the sheet is 
taken to the right shoulder and fastened, and the right hand 
corner of the sheet is brought to the waist and fastened there. 
Beautifal folds will result which can be much hnproved by 
striking them down with the hand. A. large knot is then tied 
in the corner of another sheet which is pinned . on the right 
shoulder, and the sheet is then drawn around the knees and 
fastened to the waist behind, thus surrounding the figure, and 
forming long, graceful, straight folds, hke those on the ancient 
Greek statues. A little study of di^apery and careful attempts 
to imitate that of statues will soon enable persons of taste to ar- 
range beautiful groups, as when the figures take their positions 
the di^apery assumes new and graceful folds of itself, which is 
another reason why the same persons can so successfully fill 
so many varied roles. 

Statuary is very efiective in all performances as a grand con- 
trast to the glittering scenes which it should follow; and it is also 
U£-eful in connection with other pieces, as it may be used for the 
ornaments in court scenes as well as in the studios, and may be 
utilized for the adjuncts to thrones as well as for objects of inter- 
est in the garden scenes. Abundance of good subjects may 
be found in any book of plates of statuary, so it will be only 
needful to give a few examples here of various styles i)re faced 
by some general directions. 



42 LIVING STATUABY. 

The Pedestal.— Two tables four feet long stand in centre 
of the stage with another table of the same size plaxied upon 
them in the centre ; a box two and a half feet long stands on 
ton of this table and another box stands on the floor in front 
and in the centre of the two tables which stand together ; the 
pedestals thus formed, draped with cotton sheets, serve for all 
groups. 

Light a:ni> Backgeound.— The best light is a very light 
blue, and a beautiful effect may be produced with common gas 
hght by showing them on a dark stage and slowly turning up 
the light. They must always be shown against a background 
of black curtain or of any plain cloth, a plain black shawl serves 
very well if prepared in a parlor, as is often the case ; well car- 
ried out there is no more charming study or attractive i^erform- 
ance than that of living statuary. See page 28. 

Pkopeeties. — The smaller properties may be cut from paste- 
board or thin wood and covered with white cloth or paper; those 
used in the above scene are as follows : 

Eake, hat, chain, made of loops of canton flannel; scales and 
olive branch, cut from white pasteboard; cross eight feet high, 
five inches wide, crossbar two and a half feet long; tablet, a 
board two and a half feet long, one foot wide, covered wltli 
white cloth ; pencil, basket of flowers, three tables and two 
boxes, draped with 'cotton sheets; old sheets free from starch 
and ironing folds are best for statuary. 

MonTimental Group. 

The man stands in the top box marked 3 (in the illustration) 
in an attitude of making an address ; his right hand extended, 
his left held in a cm've, over which drapery is hung loosely. 
On the table at the left (2) a female figure sits representing 
history, writing on a flat table at his right. In the lower table 
(I) a tall figure stands at a high cross with her left arm behind 



LIVING STATUARY. 



43 



it and her right hand on the cross bar. At the other end of 
the long table (5) the shorter of the ladies is scatterinc^ flowers 



BLACK CURTAIN 



2 c 



Box 



r^ 4 



Table 



J L 



3 5 



Table 



1 ABLE 



6 
Box 



fi'om a basket which she holds in her left hand. On the lower 
box in front (6) a lady bends over a child who nestles against 
her side. 

The Angel of Sleep. 

The tall Statue lady stands on the high box which is pushed 
backward to allow a second lady to sit at the left end of it, on 
the upper table, holding the child iu her arm as if asleep. The 
Angel at the top is provided with wings made by sewing the 
sheet to her extended arms which are curved, the right held 
higher than the left. 

Nydia.— The blind girl of Pompeii leans forward, grasping 
her staff with the left hand while the right is held near the ear 
in a hstening attitude. This may be copied from Roger's Cele- 
brated Statue. 

The Christian Ge aces.— The taller lady stands on the 
high box in the centre ; another leans her head upon her sldo 
standing on the table at her right while the shorter one kuocls 



44 LIVING STATUARY. 

on the left side; the left hand of the centre figure resting on her 
left shoulder. This group has the appearance of being cut 
from one block as the ladies stand very close together, 

Caractacus. 

The man statue stands with extended hands which are fast- 
ened together with a long chain, and he afterward may bo 
shown in a kneeling position. In the first position he has a 
very proud expression, and in the second he must look humble 
and depressed; with bowed head. 

Justice, Mercy and Peace. 

The tall lady stands on the high box, holding in her left 
hand a pair of scales and leaning with her right hand on a 
sword. Mercy lies at her feet, and with an olive branch in her 
right hand extended. Peace stands at the left on the lower 
table. 

Maud MuUer. 

The shorter lady stands alone leaning on a tall rake, with 
both hands ; looking modestly down and wearing a broad sun 
hat covered with white cloth. The rake is a common garden 
rake also covered with white cloth ; a white short kilted skirt 
of white cotton reaching to the ankles will modernise the suit 
from the antique drapery described above over which it may be 
worn. 

These examples will doubtless suggest numberless single, 
double and larger groups which may be copied from the art 
journals and photographs. 



DAME BISTORTS PEEP SHOW. 45 



DAME HISTOET'S PEEP SHOW. 

This curious novelty can be given in any hall or parlor, and 
will afford instruction and amusement at the same time. A 
cmtain of black cambric must be drawn across the middle of 
the room by a rope at the top and bottom. A large round hole 
is cut in the centre of this curtain, eight feet in diameter, or 
as large as the height of the room will allow, as a margin of 
at least one foot of black cambric must be left at the top and 
bottom. A curtain of some bright color, large enough to com- 
pletely fill the aperture while the scenes are changed, must 
hang upon riugs, on a wire directly behind the black curtain. 
The light must come from the top or sides, and in order that it 
may not shine through the black cambric a blanket should be 
placed behind the lamps. Dame History sits outside the black 
curtain in a high chair. She wears a black quilted skirt, red 
over- dress, long black-pointed waist, high ruff, very high cap, 
and spectacles. She has in her hand a long cane with which 
she points out the characters; at her left is a small table 
covered with books, upon which is a bell which she strikes as 
a signal to draw away the bright curtain, and exhibit the 
scenes, as she describes each one. These speeches must of 
com'se be made to suit the capacity and taste of her hearers, 
so this specimen which is given is adapted to the comprehen- 
sion of little '^ Wide Awakes " as well as those who think they 
know more. 

Scenes from Life of Joan of Arc. 

Dame History'' s Speech : '^ My dear httle friends, I shall show 
you this evening one of the most remarkable women that ever 



46 DAME HISTORY'S PEEP SHOW. 



emmsr 



lived, who by her pure and simple faith accomplished seemii 
impossibilities: Joan of Arc, a peasant maiden, the daughter 
of a poor shepherdess of Domremy in France, who rescued her 
country from the invading Enghsh, and won for her unfor- 
tunate monarch, Charles VII, the title of Charles the victori- 
ous. You wiU see her first as in simple peasant costume she 
carries water for the horses, at the stable of the Inn." 

SCEiNrE FiEST. — The bright curtain is drawn away, and a 
girl of fine face and figure appears, dressed in a rough woolen 
skirt, white waist and high black bodice, bearing on her head 
a large unpainted pail. 

The Bame then proceeds with Tier speech : " This wonder- 
ful maiden was so carried away with love and sympathy for 
her unfortunate country that she dreamed night and day about 
it, and fancied that angels appeared to her often, informing her 
that she was destined to lead the army of the king to certain 
victory, to deliver the city Orleans which was surrounded by 
the English, and to crown the king at Rheims." 

Scene Secoistd. — The curtain is again drawn, and Joan is 
kneehng before an angel, who points upward; behind her, 
another angel bends forward in blessing from an elevation. 
The angels are personated by blonde ladies dressed in flowing 
drapery, with large wings made of puffed tarleton stretched on 
wire frames. 

Dame History Continues : '^ After much suffering from delay 
and abuse, the energy and truth of the maiden finally con- 
vinced many of her most determined opponents, and, after a 
long and dangerous journey through a country overrun with 
robbers, she was at last brought before the king, who was 
driven to desperation by his many defeats. At the court she 
was subjected to the most trying examination by the dignitaries 
of church and state, but no threats or persuasions could make 
her change her behef in her angel visitors, or her prophesy of 
certain victory. Even the weak king was encouraged by her 



DAME HISTOBTS PEEP SHOW. 47 

determination, and she was fitted out witli a suit of armor and 
placed at the head of the army. She beheved that her sword 
and banner were presented by her angel guardians." 

ScEiTE Thied. — The scene here presented represents her 
clad in a suit of silver armor, which is made by covering button 
moulds with silver paper and sewing them as thickly as pos- 
sible on a close fitting black waist and short skirt ; the helmet 
is made by covering a wire dish -cover with silver paper, and 
the long stockings are also covered with silver paper. The 
angel on her right is presenting a sword, and the one on the 
left holds a white banner ornamented with fleur de lis. 
In the angel scenes a coil of magnesium wire should be burned 
before a common reflecter to add to the effect. 

The Speech Continues : ^^ After many hard battles wliich the 
shepherd maid, who could not read or write, conducted with 
the skill of a veteran general, the enemy were forced to give up 
the siege of Orleans, and the king was publicly crowned at 
Eheims precisely as had been foretold by the visions. 

'^ Joan now felt that her mission was accomplished, and was 
very anxious to return again to her native village, and to the 
humble life which she loved. But the soldiers who had been sus- 
tained by her courage refused to carry on the war without her, 
and she finally yielded to the persuasion of the court, to accom- 
pany the army against all her convictions of duty. After many 
reverses the brave maiden fell into the hands of her enemies, the 
Enghsh, who used every means to convict her of witchcraft, as 
they wished to rid themselves of the disgrace of having their 
greatest generals beaten by a girl only eighteen years of age. 
They therefore tried in every way to injure her, by employing a 
spy to visit her in prison, and by seeking evidence against her in 
her native village. Notwithstanding these efforts, they could 
find nothiQg against the poor girl, whom they kept in the vilest 
prisons, subjected to every hardship; and at last they con- 
demned her to a cruel death at the stake." 



43 DAME HIST0ET8 PEEP SHOW. 

Scene Four.TH.^In tlie nest scene Joan stands upon a box; 
chained to a liigli stake surrounded with fagots. Her eyes are 
raised toward heaven, and wear a look of patient resignation. 
The front part of the box on which she stands is covered with 
red cloth, a lamp is placed behind it, and a thick smoke is 
made by burning wet straw in a small iron furnace, which is 
managed by a man who kneels at the side representing the exe- 
cutioner. 

TJw Speech continues: "In this dreadful trial, the heroic 
maiden, only nineteen years of age, showed the wonderfal 
courage and trust which had sustained her through so many 
dreadful scenes. And years afterwards all France rang with 
her praises, and she is reverenced and admired by all nations, 
as a heroine such as the world has seldom known. More than 
four hundred years after her death the anniversary of her march 
to the dehvery of Orleans was celebrated with much pomp and 
ceremony annually. A procession of citizens visited the scenes 
of the various battles around the city, led by a youth in the 
military dress of the fifteenth century, bearing a white banner; 
and at another portion of the ceremony he was loaded with 
chains to denote the captivity of Joan of Arc. A free school 
for girls was established in her native village by Louis XVIII 
in memory of her services and goodness, and a monument was 
erected to her memory, crowned by a statue of herself as she 
appeared in martial attire." 

ScEis^E Fifth. — The curtain is now drawn aside for the fifth 
time, exhibiting the statue of Joan of Arc, personated by a 
young lady of the same size as the other,- dressed in white cloth 
in the same style as the armor; the sword and banner are cov- 
ered also with white cotton cloth, and the face is chalked.. She 
holds the sword in her right hand, the banner in her left. For 
this scene the light must be rather dim, and if the lady 
stands still the effect is perfect. The Dame concludes her 
speech as follows : 



DAME SIS TOBY'S PEEP SHOW. 49 

" My dear little Mends: You have seen to-night a noble ex- 
ample of the success which always attends upon duty faithfully 
done, and you will rejoice that you hve in an age when such a 
di-eadfiil fate as the death of the poor Maid of Orleans could 
not be possible. Still you will admire her wonderful courage 
and her devotion to her duty and her country, and at the same 
time see that History ali^ost always, in the end, makes the right 
appear and true nobihty seldom fails to be honored." 

The next specimen is of a more humorous nature, and will 
serve as a contrast to the stern reahties of Joan of Arc. 

John Smith. 

Danie History^ s Speech ; '' I have no doubt that you have 
all heard, at some period of yourhves, of John Smith; you may 
even possibly have met with some one of that name. If not, 
you need only look in the Directory and you can take your 
choice out of a few hundred of that individual. But we seldom 
find that John Smith ever did anything worth mentioning ; in 
fact about the only John Smith that ever succeeded in making 
his mark (from which we infer that he couldn't write) hved a 
great many years ago, and presumedly was the first of that 
name among the early settlers of Virginia. It did not take 
much to settle any part of Virginia in those days, but it took 
General Grant considerable trouble to settle matters there. 
But I must get back again to John Smith. In the days I refer 
to there was plenty of room for the settlers to spread them- 
selves in, and no doubt they wandered considerably. John 
Smith did. He wandered so much that he fell into the hands 
of a tribe of Indians, who, notwithstanding he politely handed 
them his card, with his name beautifully engraved upon it, col- 
lared him and led him off captive. He had never been so much 
collared in his life, and the Indians were also colored." 

ScEis^E FiEST. — The curtain is drawn up and discovers John 
Smith, dressed in corduroy shorts, high boots, hunting coat, and 



50 DAME BISTORTS PEEP SHOW. 

a slouched hat; struggling in the clutches of two Indians, 
dressed in Indian leather costume, with bead leggings and 
mocassins, feathers in their hair, and war-paint on their faces. 
Both have tomahawks raised threateningly. The curtain closes 
and Dame History proceeds : 

'^You see these harmless children of the forest thought he 
was a lottery ticket agent, and was pjaying his httle game to 
take them in, so they took Mm in, and marched him off as a 
trophy to their chief Powhatan. It took considerable marehmg 
up hill and down hill, and John took it very iU indeed, but they 
reached Powhatan's quarters at last as you see." — 

SCEKE Second. — The curtain is withdrawn and discovers 
Powhatan, reclining upon a sofa, with a cigar in his mouth, and 
a large eye-glass held up to his right eye; Smith, still held firmly 
by the two Indians, is crouching down before Powhatan, offer- 
ing him his card; the two Indians, each pointing with his dis- 
engaged hand at Smith. Powhatan is waving Smith off with 
his left hand, and points with his right to an Indian who is 
leaning on an immense club. The curtain closes, and Dame 
History proceeds : 

^' I think, my friends, that Smith made an unfortunate mis- 
take in displaying his card. Powhatan had never seen any 
card like tMt, and he mistook it, probably, for a joker or some 
other new innovation on the right bower of the period : his first 
and natural impulse was therefore to discard all his heart suit, 
and order Smith up, with clubs for trumps, and he did. The 
Indians laid John down gently and affectionately on his back, 
with his head sweetly reposing upon his limch kettle. You 
must recollect that among the first families of Virginia, no one 
was ever less than a captain ; every boy was a captain as soon 
as he was weaned, and our friend Smith had never been pro- 
moted, but was a captain still. Powhatan, judging from appear- 
ances, concluded that Smith was at least a colonel; he thereforo 
decided to waft him up the golden stairs by clubbing him on 



DAMJE RISTOETS PEEP SHOW. 51 

tlie head, a trick he had learned from the pohcemen of the 
period. He had also learned among other things in his early 
days, when he was eating peanuts at Sunday-school, that the 
only way to get at a kernel is by smashing the nut. 

'^ By Powhatan's orders, the head masher of the tribe was 
summoned; the same Indian you saw in the last picture with 
his club. He had aheady lifted his club, and was taking steady 
aim for John Smith's demoted head, when Pocahontas, a beauti- 
ful maiden of the tribe, rushed forward with uplifted arm and 
moved a stay of proceedings." 

Scene Thied. — The curtaiti opens and discovers the well- 
known group of Pocahontas saving John Smith. As soon as 
the curtain is closed. Dame History continues : — 

^^ Pocahontas came in just at the nick of time, and John 
Smith was saved. Powhatan relented, and gave Smith his 
hberty. History does not state whether he had had the small-pox. 
but he certainly was very much pitied at the time — by Poca- 
hontas." 

Many events of history can be represented easily by children, 
which, besides furnishing amusement for the hour, will stimu- 
late a desire for obtaining more knowledge of the subject, and 
fix in their minds facts already learned. The interval between 
the scenes can be filled by a brief description of the personages 
represented, or a sketch of the period. As a specimen, we give: 

Three Scenes in the Life of Beatrice 
Cenci. 

Flrst ScEiTE. — Beatrice, represented by a girl with an oval 
face and brown hair, sits upon a box at the left. She is di-essed 
in white, in imitation of the well-known picture, and wears a 
turban of same material as her dress. Her hands are tied with 
a rope, as she is sitting for her portrait the night before her 
execution. An easel, bearing an unfinished picture, stands in 



52 VISI02^S OF SEAKSPEAEWS HEROINES. 






the centre of the room, at the right of which is seated a hand- 
some boy gazing earnestly at Beatrice. If an mifinished pictm:e 
is not easily to be lomid, it is only necessary to take one from 
its frame, and to cover it with brown cambric. A large black 
shawl is pinned against the wall, to convey the idea of a prison. 

Second ScEi;rE. — The picture. A large gilt frame is placed 
upon the table in the centre, supported by the artist, who 
seems to be leaning upon it carelessly with his left hand, while 
he exhibits the picture to a group of girls and boys at the 
right. Beatrice stands behind the table looking toward her 
left shoulder. The table, being covered with a dark cloth, of 
course hides all of her figure excepting the part shown in the ' 
frame, with the black shawl, as in first scene, forming a back- 
ground. This effect, although simple, is exceedingly beautiful 
and curious, if the young lady keeps perfectly still. 

Last Scene. — The celebrated picture, Beatrice Led to Exe- 
cution, may be copied to conclude with. A procession of nuns, 
each holding a lighted candle in the right hand, their black 
drapery contrasting with the pure white of Beatrice, who is 
bound, and occupies the centre of the procession. The nuns can 
be arranged with little trouble, with the help of black shawls, 
and a large white handkerchief pinned around the head, with 
another about the face, pinned under the chin. A solemn 
march may be played, and a glass globe, slowly struck, in 
imitation of a toUing bell. 



VISIO]SrS OF SHAKSPEARE'S 
HEROHnTES. 

For this beautiful scene, a parlor with a long mirror is very 
useful ', but if there is no mirror at the end of the room, pin a 
plain black shawl against the wall exactly in the eenti-e of the 



f 



VISIONS OF 8HAKSPEABKS HEROINES. 53 

room, and hang two curtains four feet in front of tlie shawl so 
that they cross the end of the room and open in the centre ; 
place a stool or box (covered with black cloth) in the centre of 
the black shawl or back ground on the floor, so that a person 
standing upon it will show against it, or the mirror, if one is 
convenient. The visions are concealed by the curtain at the 
back of the room, standing in line, so they can in turn stajjd 
upon the stool without delay the moment the curtain falls. 
Tragedy stands at the right of the place where the curtains 
meet, and Comedy at the left, three feet apart. The young 
ladies who personate the \isions, stand perfectly still while 
. Tragedy and Comedy draw away the curtains, and step down 
as soon as they are shut, followed by the next in turn at once. 

COSTUMES. 

Teagedy — Black skirt^ black drapery, dagger in hand. 
Comedy — White muslin, rose wreath over shoulders, mask. 

VISIONS. 

Coedelia — Blue silk dress, shoulder-train of brocade cur- 
tain. 

Lady Macbeth — White drapery of sheets, candle in hand. 

Jessica — Oriental dress, draped with shawl, casket in hand. 

Katharine — Silk dress trimmed with ermine (made of cot- 
ton flannel, marked with ink spots), gold-paper crown. 

Juliet — Bridal dress, with vial in right hand. 

Ophelia — White muslin dress, lap full of flowers. 

TiTANiA — White dress, with gold-paper spangles ; wand. 

Beatrice — Silk dress trimmed with wax beads. 

Cleopatra — Loose white waist brig^^t skirt, crown with 
coin ornaments, and chains of gold paper. 

When all have been shown, they may stand in a semicircle, 
and be shown all together, by drawing the curtains back, leav- 
ing Cleopatra still on the box, which must be covered with a 
sheet. 



54 ILLUSTRATED BALLADS, 



1 



ILLTJSTEATED BALLADS. 

Illustrated Ballads form a charming entertainment for a 
winter evening, as they require slight rehearsal and little or no 
scenery. They can he very effectively performed in any parlor, 
hy children of any age, who possess a good ear for time and 
a thorough appreciation of the spirit of the song. The words 
must he distinctly sung by a performer, who may he concealed 
from view of the audience if preferred. As each line is sung, 
the actors must present, in pantomime, its appropriate action 
in exact time to the melody. 

Auld Eobin Gray. 

CHAEACTEES. 

Auld Kobin Geay. — Gray suit, knee-breeches, long vest, plaid, white wig, or powdered 

hair. 
Jamie. — Kilt, plaid, pea-jacket, sailor -hat. 

Jeannie. — Plaid skirt tucked up over white, white toaist, black bodice, plaid scarf. 
Mother. — Black or brown dress, \ohite kerchief, white apron. 
Fathek. —Gray or brown suit.— wrapped in plaid, left arm in sling. 
Pkopeeties,— 1st Scene, silver dollar for Jamie ; 2d Scene, two chairs, R., 

small chair, C, atsmall spinning-wheel ; 3d Scene, box for door-stone, C; 4114 

Scene, great chair, with pillows, quilt, &c., for Robin, C, small table, cup, 

medicine. 

SCENE L— Jamie, R., and Jennie, L., discovered in attitude of parting lovers, C. 

Young Jamie loved me weU, and sought Jamie kneels on left knee. 

me for his bride, 

But saving a crov/n he hath nothing Jamie shows silver-piece ; both sadly shake 

else beside. their heads. 



ILLUSTRATED BALLADS. 55 

To make the crown a pound, my Jamie Jamie points off, L., and exit, L., at the 

ga'ed to sea, word "sea." 

And the crown and tlie pound were a' Jeannie /oiZows him three steps, parts, 

baith for me. comes forward sadly with clasped hands. 

[Curtain falls. 

SCENE II.— Fathek and Mothee in chairs, L. ; Jeannie, C, at wheel, hands clasped 

in lap. 

He had na' been gone a year and a day, Jeannib in attitude of despair, hands 

clasped. 
When my father brake his arm, and our Looks sadly at her father. 

cow was stole away. 
My mother she fell sick, my Jamie at Turns towards her mother. 

the sea, 
AndAuid Eobin Gray came a courtin' Robin Gray enters, L. or C, kneels to 

to me. Jeannie, and takes her right hand ; she 

turns away in disgust and looks down. 
My father could not work, my mother Robin Gray points to each ; Jeannib 

could not spin, sadly watches his motions. 

I toiled day and night, but their bread I Jeannie spins at wheel. C. 

could not win. 
Auld Rob mabatained them baith, and Robin kneels and implores with tears. 

with tears in his e'e, 
Said, " Jeannie, for their sakes, oh, pray, Jeannie turns away as he takes her hand, 

marry me." 
My father urged me sair, my mother Jeannie %s led by Robin across to her par- 
did na' speak ; ents, and kneels with her hands aci-oss 

her Motheh's lap. 
But she looked in my face till my heart Mother regards Jeannie earnestly as she 

was like to break ; kneels before her, R. 

So they gied him my hand, tho' my Robin crosf.es from C. to R., takes Jean- 

heart was,on the sea, nie's hand from Mother. 

And Auld Ilobin Gray was a gude man Robin leads Jeannie to C. and draws her 

to me. hand through his arm, looking fondly at 

Jeannib, who looks sadly down. 

[Cur tain falls. 

SCENE III. — Jeannie discovered sitting at door, very sad. 

1 had na' been his wife but weeks only 

four, 
Wheii sitting so mournfully at my own She slowly Ifts her head from her hand. 

door, 
I saw my Jamie's ghost, for I could not Jamie enters L. ; Jeannie, in f right, mo- 

think it he, tions him away. 



56 ILLUSTRATED BALLADS. 

Till he said, "I've come home, love, to They rush into each other's arms. 

marry thee." 

Oh, sair did we greet, and mickle did we They how their heads, then lift their headi 

say ; . as if conversing. 

We took na' kiss at all, I bid him gang Jeannie pushing him away ; exit Jamte, 

away ; sadly, L. 

For I will do my best a good wife for to Jkannie cotnes forward, extends her 

be, hands. 

For Auld Bobin Gray is very kind tome. Sinks back into her seat, bowed ^uith sorrow. 

{Curtain falls. 

SCENE IV. — Robin at C, in arm-chair, propped up by cushions or pillows. 

The nights were long and sad, the days Jeannis bends over him, E. 

were dull and wae. 

But that which grieved the most was Jeannie smooths his hair from his fore- 

Auld Robin Gray. head. 

He sickened day by day, and nothing Jeannie passes cup from table, R., which 

would he take, he refuses. 

But said, "Tho' I am like to die, 'tis JEANHisikneels for the old man's blessing. 

better for her sake. 

Is Jamie come ? " he said, and Jamie Jamie enters, L. 

by us stood. 

" I've wronged you sair," he said, " now Robin grasps Jamie's hands 

let me do some good. 

I give you all, young man, my houses Jamte kneels, L., and B,o-b,ts points off, L. 

and my kine. 

And the good wife herself, who should Jeannie kneels, he joins their hands, they 

not have been mine." bow their heads for his blessing. 

We kissed his clay-cold hands, a smile They rise, lift his hands to their lips, and 

came o'er his face. then suffer them to drop heavily. 

Said Jamie, " He is pardoned before the Jxmib points up^Ti., one hand on arm of 

Throne of Grace ! chair. 

O Jeannie, see that smile ; forgiven I'm Jamie turns to Jeannie. 

sure is he ; 

Who could resist temptation while Hobis falls back in death. 

hoping to win thee? " Jeannie kneels, H.; Jamie jjoin^'s up, L. 

[Curtain falls. 



ILLUSTRATED BALLADS. 57 

The Mistletoe Bough. 

CHAP.ACTEES. 

The Bride. — Wlntedress and veil, wreath, also a faded wreath. 

LovEii. — Knee-breeches of white paper-cambric, ccat faced loith same, ruffled shirt, 

white cravat, white wig and beard fur last scenes. 
The Baeon, ) same as Lovell, excepting bright-colored breeches 

Four Gentlemen or Boys, ) and facings. 

FoxJB Ladies or Gibls. — Silk train-Dresses, powdered hair. 
The Baroness. — Black Dress in same Style. 
Six Little Children inordinary Dress. 
PEOrERTiES. — One table, one chair, two boxes. Front, side and lid of chest, four and 

one-half feet long, two and one-half high ; the lid is hinged, as usual, to the hack; 

the four sides of the chest are not nailed together, but merely held together by hooks 

and eyes at each corner inside. The sides must he unhooked for the last scene to 

allow the chest to fall to pieces. 

At rise of curtain tlie "bride and Lovell stand in centre of 
stage at back. The baron and baroness at the left hand of 
Lovell. The others stand in two hnes at side, gentlemen at 
right hand of partners. They dance as follows : head couple 
forward and back, sides forward and back twice and bow, grand 
right and left. The pianist must play the melody, and as the 
bride and Lovell meet at head of the stage, the singer must 
twice sing the chorus, '^0,the Mistletoe Bough." At the word 
'^ bough," the couples join right hands and bow, first to partner, 
then to opposites, in exact time with music. The song then be- 
gins, the same dance coming in as marked. 

The mistletoe hung in the castle hall, Lovell leads his Bride forward and 

points up. 
The holly branch shone on the old oak They go backward to place, he points to 

wall ; ' sides of stage. 

And the baron's retainers were blithe 

and gay. 
And keeping their Christmas holiday. Sides f-rward and back, how, and begin 

the dance, which gots on as above. 
{Dance.) 



ILLUSTRATED BALLADS. 



The baron beheld with, a father's pride, Lovell leads Bbide ^oBabon, who salutes 



His beautiful child, j'oung Lovell's 

bride, 
While she -with her bright eyes seemed 

to be 
The star of the goodly company. 



CHORUS. 

O, the Mistletoe bough ! 
O, the Mistletoe bough I 



her ; he then leads her to centre of stage 
andxmts a ring upon her finger. 



They look tenderly at each other, and re- 
main in centre, hand in hand, until 
chorus, when they bow first to each other, 
then to sides. 

All bow as before. 



{Dance.) 



"I'm weary of dancing now," she 

cried ; 
"Here tarry a moment, I'll hide, I'U 

hide! 
And, Lovell, be surethou'rt the first to 

trace 
The clew to my secret lurking place," 
Away she ran, and her friends began 
Each tower to search, and each nook to 

scan ; 
And young Lovell cried, " O where dost 

thou hide ? 
I'm lonesome without thee, my own 

dear bride." 

O, the Mistletoe bough ! 



Bbide comes forward, stretches out her 
hands wearily, places left hand on Lov- 
ell's shoulder, who also comes forward ; 
she points over her shoulder and rwis off 
at the right. Dancers crons and go out. 



Lovell expresses despair. Baboness 
comes forward, places her right hand on 
his shoulder. They salute each other, then 
bow to audience at chorus. 



[Curtain falls. 



SCENE II. — Chest in centre, table tipped over at right of stage, chair on floor at left. 
The melody is played. Bbide enters hastily ; first hides behind the table, then decides 
to enter chest, draws up chair and steps in. The chorus is then sung, and the Bbide 
lels the lid fall heavily at last note. 



They sought that night, and they sought 

her next day, 
And they sought her in vain, when a 

week passed away. 
In the highest, the lowest, the loneliest 

spot. 
Young Lovell sought wildly, but found 

her not. 



The dancers enter slowly, pause a moment 
then cross and exit. 



[Curtainfalls. 



ILLUSTRATED BALLADS. 



59 



SCENE III.— Chixdken are playing ''Thread the Needle," in time to the melody ; they 
slop suddenly, two of them point to right of stage. 

And years flew by, and tlieir grief at TiOykIjIj appears at right, dressed as an old 
last vian, and crosses the stage slowly. 

Was told as a sorrowful tale long past ; 

And when Lovell appeared, the children He boius his head and weeps, then salutes 
cried. the Children, who how to him and 

" See ! the old man weeps for his fairy then to audience. 
bride." 
O the Mistletoe bough ! {Curtain falls. 

SCENE IV. — Same as Scene III., except that the chest is unhooked at corners, and 
the faded wreath inside. 



At length an oak chest, that had long 

lain hid. 
Was found in the castle. They raised 

the Ud, 
And a skeleton form lay mouldering 

there. 
In the bridal wreath of the lady fair ! 
O, sad was her fate ! in sportive jest 
She hid from her lord in the old oak 

chest ; 
It closed with a spring ! and her bridal 

bloom 
Lay withering there in a living tomb. 
O the Mistletoe bough ! 



Old man slowly enters, and attempts to 
raise the lid, pushes the right corner 
and chest falls. He holds vp the wreath 
with trembling fngers. Gazes withhor- 
ror on the chest. Turns to audience and 
points towards it. He kneels, and at 
last note of chorus falls on ruins of the 
chest. 



[Curtainfalls. 



Yillikins and His Diniah. 

An Illustrated Ballad, to he Performed hy CJdldren from Eight 
to Twelve Years Old. 

CHAEACTEES. 



Paeent. — Top-boots, knee-breeches, swallow-tail coat, ruffled shirt, white cravat, pow- 
dered hair. 
YiULiEiNS.— White pantaloons, swallow-tail coat, ruffled shirt, fancy tie, curled hair. 
Diniah. — Train dress, bright cverskirt, hat, large waterfall, Grecian bend. 
Pkopekties. — Two sheets, letter, bottle, carpet-bag, money. 

[Note.— Swallow-tail coats are easily made by sewing tails on to the boys' 
jackets; the ruffles are made of paper. The girl can wear a long dress tucked up 



60 



ILLUSTRATED BALLADS. 



over her own. The sheets are placed over the heads, leaving only the face ex- 
posed. They hold the sheet under their chins with left hands and point with the 
right. Where a trap-door is available they fall into and rise up from it.] 

(A concealed Singer begins song as curtain rises.) 



There was a rich merchant, in London 

did dwell. 
Who had for a daughter a very fine girl; 
Her name it was Diniah, just sixteen 

years old, 
With a very large fortune, in silver and 

gold. 

CHOEUS. 

Sing tural li lural li lural li la. 

Sing tural li lural li lural li la. 

Sing tural li lural li lural li la, 

Sing tural li lural li lural li la. 
II. 

As Diniah was walking the garden one 
day. 

Her father came to her, and thus did he 
say: 

"Go dress yourself, Diniah, in gorgeous 
array. 

And I'll bring you a husband, both gal- 
lant and gay." 

CHOEUS. 

III. 
"O papa, dear papa, I've not made up 

my mind; 
To marry just yet I do not feel inclined; 

And all my large fortune I'U gladly give 

o'er 
If you'll let me be single a year or two 

more." 

CHOEtrS. 
IV. 

" Go, go. boldest daughter !" the parent 

replied. 
" If you do not consent to be this young 

man's bride. 



Paeent bows low to audience. 

Paeent points with left hand. 
Paeent spreads both hands in ecstasy. 

Paeent rattles money in his pockets. 



Paeent dances in time to music, forward. 
Paeent dances in, time to music, backward, 
Paeent dances in time to music, forward. 
Parent dances in time to music, backward, 

and bows at last note. 
Diniah enters and courtesies to Paeent, 

ivho bows in time. 
Paeent approaches her, and moves head 

and hand as if speaking. 
Paeent points to Diniah 's dress, who 

takes it in her hands and looks upon it. 
Diniah puts finger in her mouUi, and turns 

head away. 
Both dance forward and backward together 

at each line, and bow at end. 
Diniah puts right hand on Paeent's left 

shoulder. 
Diniah places left hand coaxingly under 

his chin. 
Diniah turns to left, moves both hands as 

ifihroiv-ing away her money. 
Diniah looks at him imploringly, and 

coaxes him as before. 
Both dance forward and backward, and 

bow in time as before. 
Paeent shakes his head and fist very 



Diniah kneels down and cries. 



ILLUSTRATED BALLADS. 61 

I'll give your large fortune to the nearest Parent makes motions as if throwing away 

of kin, money ; takes large pin from Ms coat. 

And you sha'n't reap tlie benefit of one Diniah wrings her hands and weeps. 
single pin. 

CHOEUS. Sung and danced as before. [Curtain falls, 

V. 

As Villikina was walking tlie garden Villikins enters, discovers Diniah tying 

around, in centre of stage with bottle and letter; 

He spied his dear Diniah lying dead on he jumps, throws up his hands in horror. 

the ground, 

With a cup of cold pison lying dovrn by YnJU-KTSS picks up bottle and smells it. 

her side, 

And a billet-doux, saying by pison she Reads letter in amazement. 
died. 

CHOKUS. VrLUEXNs dances forward and backward, 

looking first at letter in his left hand, then 

at bottle in his right, extending each hand 

Yt. in turn, boivs at last note. 

He kissed her cold corpus a hundred Villikins kneels down behind Diniah, 

times o'er, bends over her and pretends to kiss her. 

And called her his Diniah, though she Wrings her hands. 

was no more ; 

Then he swallowed the pison like a lover Drinks from bottle. 

so brave. 

And Villikins and his Diniah both lay in Falls behind Diniah at last note. 
one grave. 

CHOKUS. No dance. {Curtain falls. 

VII. 

At twelve next night, by a tall poplar Parent enters, discovers the lovers stand- 
tree, ing at back of stage dressed in sheets like 

The ghosts of his children the Parent ghosts. He jumps, looks first over his 

did see, left shoulder at them, then over his right 

Standing close to each other, and both shoulder, and continues this motion 

looking blue, through rest of verse and chorus. 

Saying, " We should be both living if it Ghosts dance forward and back as before, 

was not for you." following Parent; all bow. 

CHORUS. 

vni. 

Now the Parent was struck with a hor- Parent goes off left for his carpet-bag. 

ror of home. 

So he packed his portmanteau, the world He packs his clothes. 

over to roam; 



62 CHARADES. 

But he had not gone far, when he was Svdaenly turns his head, sees ghosts, and 
seized with a shiver shivers faster and faster until he drops 

Which ended his days, so finished him in centre of stage. 
forever. 

CHORUS. Ghosts dance around Pabent; Diniah 

forst; both bow. [Curtain fa Us. 



CHAEADES. 

Although considered easy to act "by many persons, these are 
by far the most difficult of all dramatic scenes. To render them 
eftective, a quick wit^ and a brilliant conversational talent 
must be united with the power of imitation. It is, therefore, 
best to give only a skeleton of a few which have proved suc- 
cessful, leaving them to be endowed with life by the genius of 
the actors ', for those with written conversations often appear 
tame. 

For those who prefer written parts, there are volumes of 
charades dramatized for parlor performance.* 

The more extravagant the humor of a well-acted charade 
the better ; so we shall begin with some comic ones, which have 
often been acted successfully, in which, of course, the pronun- 
ciation of the words is considered, and not the spelling. 

Jewels. A Charade in Three Scenes. 

Shylock. — Eed dressing-gown, sash, red yarn braid, loose 

trousers. 
Anto:n'io. — Tunic, loose pantaloons. 
Portia. — Dark dress, white cotton wig, like a strong-minded 

female judge ; knife, scales, bond. 

* " Parlor Theatricals " and " Frost's Parlor Acting Charades." Both iniblii^hcd 
bv Dick & Fifc32-erald, Few York. 



CHARADES. 63 

JEW. 

Shylock enters, followed by Antonio. He demands payment 
of a "bill for a pomid of flesli found on his last month's meat- 
bill. 

Antonio begs for more time ; says he will pay him when his 
ship comes in. Shylock demands immediate payment, or he 
will sue him. The matter is then referred to the judge, who 
compels Shylock to produce a pound of beef, as a specimen of 
the amount at stake. She finds that Shylock has charged too 
much for his meat, and compels him to discharge Antonio, and 
to forfeit the piece he has Ipicl before the court. Shylock ex- 
presses great discomfiture. 

CUETAIlf. 

ILLS. 

Fine lady in rich costume, reclining on a couch. 
Pompous Doctor. 

Lady in hysterics. Doctor knocks and enters. She gives 
him a list of many ills and maladies, each one of which he as- 
sures her she has no sjraiptoms of. 

He then asks her a few questions, such as, ^^ Do you find, 
that after a hearty lunch, a great dinner, or a game snipper, 
you experience a loss of appetite or iu difference to food ?" 

'^ Oh yes, doctor." 

^^ After a hard day's work, and dancing all night, do you 
ever feel a sense of lassitude f 

^' Oh yes ! Doctor, you understand my case exactly." 

He writes a long prescription. 

CTJETAHJ. 

JEW-ELS. 

The Mothee of the Gracchi. — ^Eoman costume, draped 

with sheets. 
The Two G-eacchi. — Draped with sheets. 



64 CHABABES. 

The two Gracchi enter, each with a prize-package of candy, 
containing cheap jewelry, over which they are quarreling. The 
mother enters with stately steps, pulls the combatants apart by 
the ears, and takes away the prizes, exclaiming, ^^ These are 

my jewels 1" 

CUETArN^. 



!N"orina. A Charade in Three Scenes. 

NOK. 

Noah and his three sons, each with a wife upon his arm, 
come in, stepping carefally, holding up their dresses and um- 
brellas, as if it were damp. They converse about the various 
animals, and the difficulty they have experienced in getting 
them safely into the ark, and exit by another door. 

MA. 

A lady is seated on a chair at the centre of the stage. A 
small boy comes running in, calhng, '^Ma ! Ma !" She orders 
him to do several things without success; and finally says, " G-o 
out of the room.^' He says, ^^I won't." She rephes, ^^Stay 
here; I will be minded." 

NOR-MA. 

A procession of druids and nuns enter, dressed in waterproof- 
cloaks and sheets. Norma follows, in white, with a wreath of 
oak-leaves. They march three times round the stage and ar- 
range themselves in a semicircle. Norma kneels and sings, in 
burlesque, '' Casta Diva." 

The moon rises behind the table, and all march out, chanting 
the well-known march. 

CTTRTArN". 



CRAEADES. 65 

Conundruins. A Charade in Four Scenes 

CO. 

An old man and Ms wife enter, and seem reading the signs 
all along a street; and the lady remarks, ^'What a splendid 
business must be done by Mr. Co, as his name appears upon so 
many signs. 

NUN". 

A tableau can be introduced here of the well-known scene of 
taking the veil. 

DRUMS. 

An irafecible old bachelor, wishing to revenge himself upon a 
family, presents the six boys each with a drum. The effect of 
the instruments, played with vigor, generally satisfies the au- 
dience in a short time. 

CO-NUN-DEUMS. 
A troupe of minstrels, who give and guess conundrujns. 

Indolent. A Charade in Four Scenes. 

INN. 

The first scene may be trusted to a conversation between the 
servants, that can be made very amusing. 

DOUGH. 

The second scene may be a kitchen scene, where the troubles 
of a newly imported Hibernian over her first batch of bread, can 
be introduced. 

LENT. 

The third scene may be made a comical illustration of the 
despair of a book-collector over the return of a valuable bor- 
rowed book in a state of dilapi-dation. 



66 CHARADES. 

IN - DO - LENT. 

Tho whole word may turn upon the loss of a legacy by a 
nephew, who was too lazy and Indolent to perform some trifling 
duty for a rich old aunt. 

Dramatic. A Charade in Three Scenes. 

DRAM. 

An Aktist, sitting hy a table on wJiicTi is an empty plate, a hot- 
tie, and afeiv brushes. Picture frames, and other furniture 
of a studio, are arranged around the room. He speaJcs %n 
burlesque ofHar/ileVs soliloquy. 

^' To be or not to be/'^life's dreary dream is o'er, 

And dark despair stands shuddering on the shore. 

Pointing in terror to that dreadful bourne 

From which, alas ! there can be no return. 

Come then, dark dram of poison handy. 

Of strychnine made, called pure French brandy. 

Lift the black veil I thou dark and dreadful dram } 

Teach me what fate — what hfe is — what I am ; 

And why this curse of genius has been given 

To crawl on earth and only dream of heaven : 

For round my mind the changing colors play 

Bright as the radiance of departing day ; 

And forms of beauty ever fill my mind, 

Which to my canvas will not be confined — 

Bright fleeting visions which should trace my name 

With the great masters ! But one moment stay ! 

They had no names till they had passed away ! 

And when, to-morrow, they will find me here, 

Will tardy fame mourn o'er my early bier, 

And glory toll my mournful funeral knell ? 

What ! no bread here "i '^ Plate, oh, thou reasonest well." 



CHARADES. 67 

[Brinks from the bottle. Lady enters, and knocks aivay the 
dram from his lips.] 

Lady. — ^^ What can have tempted you to this f ' 

Aetist. — '^ Living in misery to dream of bliss ; 

That which makes folly wise, and wisdom folly prove ; 

The hurning cold and freezing heat of love ; — 

But you can make me happy ! Let me trace 

The changing glories of that lovely face : 

The blush-rose mingliQg with the pure white hly." 

Lady. — " To paint my face ! How can you be so silly % " 

Aktist.— ^^ Next week the dreadfal critics come to see 

If to their chque I can admitted be. 

Oh, let me paint that face which haunts me ever ! 

And if they don't pronounce the picture clever, 

Othello's occupation's gone ! and then 

I never will attempt to paint again." 

CUPvTAIN. 

ATTIC. 

The same room as before. One of the picture frames is 
placed upon the table near the edge, the top of the frame lean- 
ing against the waU. A black shawl is pinned to the back edge 
of the frame, and the lady stands behind the table so as to show 
her head and shoulder in it, the rest of her body being con- 
cealed by the tables. Three critics enter, and express their 
disgust at being invited to such a miserable attic — as if any 
picture worth having could be produced in such a poor place. 
Then they proceed to find fault with it in every way, criticising 
the drawing, color, etc. The lady keeps still as long as possi- 
ble, then bows to them from the frame. The artist laughs at 
them, and the critics retire in confusion. 

cuetai:n". 



68 CHAMADE8. . 

DEAM - ATIC. 

A manager sits at a small table at left of stage, and many 
applicants for engagements for the next dramatic season 
arrive, each one in turn giving a specimen of his powers. A 
tragedian, Irish, Dutch, comedian, ballet-dancer, and many 
others present themselves. 

The following is an example of a charade with all the dia- 
logue complete, and will serve as a model for those who are not 
famihar with charade acting : 

Tell-Tale. A Charade in Three Scenes. 

TELL. A Historical Burlesque. 

Scejst: I. — A small hoy sits upon a sofa covered with a red sliaivl 
to represent a throne ; on his head he wears a gilt paper 
crown, and holds a dust-brush in his right hand as a sceptre. 
Six guards surround the throne, each holding some domestic 
'tceapon, such as broom, shovel or tongs, and all have shawls 
draped over their left shoulders. 

Gessler. Bring forth the prisoner ! 
TJie guards go out and bring in a very small boy, dressed like the 
others, tvith his hands tied tightly behind his bach. 

Gessler. Your name ? 

Tell. TeU. 

Gesslee. I told you to tell. 

Tell. I told you it is Tell. 

Gesslee. Are you ready for your sentence? 

Tell. Yes ; if it is a short one. 

Gesslee. Bring forth his son. 
Two other guards go out for a very large boy, who sits doivn on 
the sofa by the side of Gesslee. 

Gesslee. Son, rise ! 

Tlie boy gets up and stands with folded hands. 

Gesslee. Having long desired to see your wondrous skill in 



CHARADES. 69 

drawing the long bow^ I will grant you life and liberty if you 
will shoot an apple from Ms head. I have chosen a little one 
as his head is small, so you can choose yoiu- mark ! 
TJie guards place a large calhage on tlie sok's head, and lead 1dm 
to the end of the room. Tell is unbound, a hoiv is pitt into 
his hands, and a single arroiv, tvMch he hreahs, and calls for 
more. He selects one, and conceals a second in his vest 
pocket. After putting on a pair of spectacles he shoots ; the 
l)oy shaJces his head and the cabbage falls. 
Tell embraces his soi^; the arroiv falls from Ms pocTcet. 
GrESSLER. Archest of archers ! why was this concealed ? 
Tell. To slay you, tyrant, had I slain my boy ! 
Tell shoots at Gesslek, and escapes, pursued by all. 

TALE. A Historical Legend. 

Scene II. — A party of children enter and arrange themselves 
around an arm-chair in a graceful group. A little Girl 
says: ^'Now I will go and beg grandpa to teU you a story." 
She then goes out and soon returns, leading an old man, 
whom she places tenderly in the chair. She then says : ^^Now, 
grandpa, we are aU ready;" and the old man begins, slowly 
at first, but gradually warming up ivith Ms subject, as 
follows : 

'^ My dear httle ones ! I will teU you a true incident of the 
first battle of the war which made us free and independent, in 
the very words in which I have so often heard it from the lips 
of my dear mother. In the year 1770 two brothers carried on 
a smaU farm in the north part of the town of Concord. They 
were of nearly the same age, and grew up in the most perfect 
harmony until the elder was twenty-two years of age and his 
brother two years younger, when the quiet of their simple lives 
was disturbed by the arrival of a family from Boston, who pur- 
chased a large farm bordering on the river meadows. One of 



70 QHAEABES. 

the members of the household was a beautiful maiden of eight- 
een, who had been educated in England, where she had acquired 
a taste for coquetry, and a desire for the admhation of all who 
came across her path. The honest farmer boyS; beholding for 
the first time so much loveliness, were completely fascinated, 
and they little thought the object of their affections was capable 
of treating both alike with the marks of her preference. One 
summer evening the elder brother determined to ofler his heart 
and hand to the fah lady, and was hastening to meet her by 
appointment at a secluded spot by the river-bank. Hearing 
voices he crept up slowly through the thicket of grape-vines^ 
and taking off his hat gazed earnestly throQgh the thick 
branches. What was his surprise to see his brother in the most 
earnest conversation with his beloved, who seemed hstening 
with delight to his impassioned language. Filled with rage 
and despair he hurried away, seeking only to tear himself from 
the presence of his love, and the sight of his brother's happi- 
ness. The next morning found him at Boston, where he 
enlisted in the regiment which was on the point of returning 
home to England- His hat having been found on the river- 
bank, he was long mourned as dead by his brother, who finally 
married the young lady. On the morning of the 19th of April, 
1775, the yoimger brother left his young wue, and assembled 
with the minute men, of which company he was a member. At 
nine o'clock he was stationed on Buttrick's Hill, and marched 
boldly to the defence of the Old North Bridge, where Capt. 
Davis, the first martyr j fell. Maddened by the sight, the brave 
farmers pursued the retreating soldiers down the Lexington 
road, firing from behind walls and trees, in the style which 
they had learned in the old Indian wars. Foremost among the 
patriot band was our hero, whose trusty rifle seldom missed its 
aim. After five miles of this exciting warfare he came 
around a house just in time to see a British soldier approaching. 
Lifting: his 2:un he remarked: '^You are a dead man!" ^^ So 



CHARADES. 71 

are you ! " replied the Briton, and both fired at the same in- 
stant, and fell, mortally womided. The British soldier drew 
himself near an old well which was between them, ond both 
approached to slake their dying thirst. What was theu' horror 
at recognizing each other when it was too late ! The two 
brothers embraced, but, alas ! it was the embrace of death. 
The next day they were buried in the same grave, to which 
they were followed by the heart-broken wife. 
The children seem much interested in the story, and follow tlie old 
man, who is led out 'by the little girl. 

TELL-TALE; OE, THE OLD-FASHIONED QUILTINQ- 
PAETY. 

Scene Ul.—Six or eight girls in old-fashioned caps, herchiefs, 
high combs and old dresses, zvith ivhite aprons, sit around a 
bed- quilt rolled over two poles, and supported on chairs. 

Miss Smith. I tell you, ladies, Mrs. Johnson ought to be 
turned out of the society, for they say she steals everything she 
can, and rejoices in it, too ! 

Mes. Lewis. Now, Miss Smith, I think you ought to be 
careful how you tell such stories about her. I am sure she ap- 
pears very well, always. Perhaps you have been misinformed, 
or exaggerate a little without intention. 

Miss Smith. Exaggerate ! how you talk ! I shouldn't won- 
der if you thought I was deaf ! Miss Brown told me all about 
it, her own self. 

Miss Beown. Now, Miss Smith, you know I did not say all 
that ! I said I heard Miss Jones say that she did not think it 
wrong to steal, if you wanted to. 

Miss Joi^ES. You ought to be ashamed. Miss Brown ! I only 
said she must be watched, for I feared her principles were weak 
on the side of accumulation, for she did not disapprove of it by 
any means, as Miss Smart says. 



72 PANTOMIMIC CRAEADES. 

Miss Smaet. I never did ! I only said Miss Prim said she 
knew Mrs. Johnson loved to take what did not belong to her. 

Miss Peim. Now, ladieS; all I ever said was that Miss Chief 
said she heard her say so herself. 

Miss Chief. Ladies, in order to see how a story would 
grow, I did say that I heard Mrs. Johnson say, over and over 
again, that she loved to ^^ steal," which is quite true; for I heard 
her practicing a hymn, and she kept singing, " I love to steal ! 
I love to steal ! " more than a dozen times before she was satis- 
fied to finish the liae : '^ I love to steal awhile away." 

Mes Lewis. Now, ladies, you can see how a very great 
matter will come from very small beginnings, and let us ah be- 
ware how we spread any story without being careful to ascertain 
whether it has any foundation in fact. But tea is ready, so let us 
all go out to use our mouths to a better purpose. 

CUETALN". 



PANTOMIMIC CHAEADES. 

Much genuine amusement may be derived from Pantomimic 
Charades, The success of this species of entertainment wholly 
depends upon action, as no di?Jogue is permitted. The follow- 
ing charade will serve as a model, but if variety is desired quite 
a number of good Pantomimic Charades will be found in a httle 
work devoted to the subject.* 

* Paklor THEATKiCAiiS, publislied by Dick & Fitzgerald, New York. 

% 



PANTOMIMIC CHABADES. 73 

Kniglithood. A Pantomiinic Charade 

in Three Scenes. 

KNIGHT. 

One of the actors dresses himself for the Kjn"igh:t as Don 
Quixote, with a basin upon his head for a hehnet, the poker 
for a lance, the fireguard for a shield, and so on, making out 
his armor as he best can. 

He enters the room marching, followed by his squire, Saincho 
Pai5"ZA, who must be dressed in a motley costume, and be very 
fat. As they enter a lady kneels to the e:n"ight, and, clasping 
her hands, mutely implores his aid to defend her from a cruel 
tyea:n^t who holds her captive. As the K^^ght raises her, 
the cruel ttp.ais'T rushes out from behind a curtain to carry 
her away. The knight shakes his lance at him, and the 
TYEAi^T completely vanquished, falls to the earth. Leaving 
him there, the victorious knight leads the lady respectfully 
by the hand off the stage to perfect freedom. Sa:n"CHO Pa^sTZA 
struts after, turning to shake his fist at the conquered tyeai^^t. 

HOOD. 

In the next scene, a lady enters with an immense, ugly Jiood 
upon her head. Two other ladies, advancing to meet her, 
seem surprised, and point to the hood. Suddenly she turns 
back and holds up a large placard, upon which is written, 
^' The Latest Fashion !" The ladies lift their hands in dismay, 
and faint into each other's arms. 

KNIGHT-HOOD, 

The whole word '^ KnigJit-Jiood^^ is performed by Don 
Quixote knighting a youth. Ladies fasten on his spm^s, tie 
his scarf and belt, buckle his helmet and hand him his shield. 
He kneels. The Don touches him on the shoulder with his 



74: THE SECRET OF SECOND-SiaRT. 

sword. He rises, and a scene of congratulation, in dumb shoW; 
follows. Tlien the whole party advance, and form a 

GEAXD TABLEAU. 
E. C. L. 

Two Ladies. jyois Quixote. Youxg- EinIGht. 

Saxcho Paxza, Squire oe Youis^a Ki^ight, 

Kneeling. Kneeling. 

This may be made very laughable if grotesquely costumed 
and tragically performed. 



THE SEOEET of SE00E"D-SIGHT. 

The following explanation of the Mystery of Second- Sight is 
condensed from an article on that subject that ax^peared in 
^'Scribner's Monthly:'-' - 

'^ Second-Sighf is a combination of five difi'erent methods, 
which accounts for the fact that it has baffled the most astute 
investigators. 

The first stexD toward acquiring the trick is to learn the posi- 
tion or number of each letter in the alphabet so perfectly that 
the moment a letter presents itself to the mind, its number is 
at once associated with it. For instance, if I is thought of, 9 
will mstantly be suggested ; if M, 13 ; T, 20 ; and so thi'ough- 
out. 

Having thoroughly mastered this, which can be done in half 
an hour, the next step is to memorize certain arbitrary words 
or cues, which represent the letters of the alphabet and thdr 



THE SECRET OF SECOND-SIGHT. 75 

corresponding numbers. A long experience proves tliat the 
following are the best words for the purpose : 

Come represents A and 1 

Loolv '' B ^' 2 

Hurry up or Tell me ^^ C ^^ 3 

Make haste OT Tell us ; '^ D ^^ 4 

Well '' E ^^ 5 

Please " F ''- 6 

8ciy '' G ^^ 7 

Ansiver, Call OT Called " H '^ 8 

Now " I ^^ 9 

Let me hnow ^^ J ^^ 10 

Can you see ^^ K ^^ 11 

Try '' L '' 12 

Fdghtaivay " M " 13 

Do you know '^ N " 14 

Goon " " 15 

Let us hear " P " 16 

J-^o^ce " Q '' 17 

See " E " 18 

Look sharp " S " 19 

Letuskno'W ^^ T ^^ 20 

^i^^c^' "■ V '' 21 

Will you look ^' Y " 22 

Lo you see " W '^ 23 

Be smart " X " 24 

ra like to know " Y " 25 

TF7z«i^zsf^ " ■ Z '^ 26 

There " 

I want to knozv " 100 

With this short vocabulary properly coianiitted to memoryj 
any two aspiring amateurs could easily astonish their friends, 
for their is nothing which they could not describe. For in- 



76 THE SECRET OF SECOND-SIGHT. 

stance^ let us suppose that a watch is handed to the performer. 
He would ask a question something hke this : 

^^Do you see (W) what this is? Come (A) let us know T." 
Then a short pause, followed by an impatient " Hurry up (C), 
ansiver (H)." 

The assistant catches the cues, — the other words, added 
merely for effect, he pays no attention to, — and answers, -^ A 
watch." 

'' Noiv (9) tell us (4) the time. Well (5) f " 

^^ It is a quarter of ten.'' 

'' Tell me (C) what this is. Go on (0), now. (I). Bo you know 
(N) ?" 

^^ That is a piece of money." 

'^ Come (1), what is it wortli V 

^' One dollar." 

Had the question heen ^^ What is its value f" the answer 
would be " One cent^^^ the, words value and ivortli rei^resenting 
respectively cents and dollars. 

In this way, as will he seen, anything can be spelled out, and 
for amateur entertainments, where no great time can be de- 
voted to study, this will be found to answer every purpose. 

For professional conjurers, however, something more is ne- 
cessary. With us it is business, which means hard work and 
continual study. We use the spelling system occasionally ; but 
for general use it is too long, and so we employ a second 
method. This consists of a hst of such articles as are com- 
monly offered by an audience. This list is alphabetically ar- 
ranged, and divided into triplets, each triplet having a dis- 
tinguishing number. Now, were I to ask one of my readers 
to make out such a list, the result in all proba^bihty, would be 
one containing about a third of what is necessary. It is won- 
derful how many things are brought out ; but, that my readers 
may judge for themselves, let them read the following, com- 
piled from actual exi^erience : 



THE SECRET OF SECOND-SIGHT. 77 

1. Accordion, Album, Almanac. 

2. Anchor, Apple, Apron. 

3. Awl, Badge, Bag. 

4. Ball, Banana, Beads. 

5. Bean, Bell, Belt. 

6. Bill of Exchange, Bodkin, Bonnet. 

7. Book, Memorandum-hook, Boot. 

8. Bouquet, Bouquet-holder, Bottle. 

9. Smelling-bottle, Box, Cap-box. 

10. Dredging-box, Match-box, Music-box. 

11. Snuff-box, Tobacco-box, Bracelet. 

12. Bread, Brooch, Brush. 

13. Nail-brush, Tooth-brush, Buckle. 

14. Bullet, Bullet-mold, Burner. 

15. Button, Button-hook, Sleeve-button. 

16. Cable-charm, Cake, Calipers. 

17. Candle, Candy, Cane. 

18. Cap,' Card, Card-case. 

19. Piece of Carpet, Cartridge, Caustic. 

20. Certificate, Chain, Chalk. 

21. Charm, Check, Baggage-check. 

22. Saloon-check, Checker, Chessmen. 

23. Chisel, Chocolate, Cigarette. 

24. Cigarette-holder, Circular, Clam. 

25. Clarionet, Cloth, Coal. 

26. Colander, Collar, Comb. 

27. Compass, Contract, Cork. 

28. Corkscrew, Counter, Coupon. 

29. Cracker, Crayon, Crayon Drawing. 

30. Cross, Cuff, Dagger. 

31. Diary, Die, Domino. 

32. Draft, Ear-pick, Ear-ring. 

33. Emblem, Envelope, Epaulet. 

34. Fan, Feather, File. 



78 THE 8ECEET OF SECOND-SIGRT. 

35. Fish-hook, Flag, Fhnt. 

36. Flower, Flute, Fork. 

37. Tuning-fork, Fruit of some kind, G-auge. 

38. Gimlet, Eye-glass, Looking-glass. 

39. Magnifying- glass, Opera-glass, Opera-glass case. 

40. Glove, Gouge, Grain. 

41. Grapes, Graver, Guide. 

42. Eailway Guide, Steam-hoat Guide, Gum. 

43. Gum-drop, Gun, Gunpowder. 

44. Hair, Hair- dye. Hair-net. 

45. Hammer, Handbill, Handkerchief. 

46. Hat, Head, Animal's Head. 

47. Dog's Head, Human Head, Heart. 

48. Hinge, Hook, Ice. 

49. Ice-cream, India-ink, India-ruhber. 

50. Inkstand, Jelly, Jew's-harp. 

51. Key, Bunch of Keys, Door-key. 

52. Night-key, Safe-key, Watch-key. 

53. Knife, Knife with 1 blade. Knife with 2 blades. 

54. Knife with 3 blades, Knife with 4 blades, Bowie-knife. 

55. Knob, Lace, Lancet. 

56. Lease, Legal document. Lemon. 

57. Letter, Likeness, Licorice. 

58. Locket, Lozenge, Magnet 

59. Mallet, Map, Marble. 

60. Match, Medal, Meerschaum. 

61. Piece of Metal, Microscope, Mineral. 

62. Mitten, Mouth-harmonicon, Muff. 

63. Sheet-music, Monogram, Nut-pick. 

64. Nail, Nail-trimmer, Necklace. 

65. Necktie, Needle, Needle-case. 

66. Knitting-needle, Note, Nut. 

0)7. Nut-cracker, Oil-silk, Ointment. 
68. Orange, Oyster, Ornament. 



TSE SECBET OF SECOND-SIGHT. 79 

69. Paint, Paper, Blotting-paper. 

70. Newspaper, Sand-paper, Passport. 

71. Parasol, Peach, Pear. 

72. Pen, Pen-liokler, Pencil. 

73. Pencil-case, Pencil-cover, Pencil-sharpener, 

74. Slate-pencil, Perfume, Photograph. 

75. Pickle, Pill, Pm. 

7Q. Pin- Cushion, Hair-pin, Safety-pin. 

77. Scarf-pin, Shawl-pin, Pipe. 

78. Pistol, Plaster, Phers. 

79. Pocket-book, Pop-corn, Portfoho. 

80. Postal-card, Powder, Powder-horn. 

81. Prescri]Dtion, Programme, Punch. 

82. Purse, Picture, Quill. 

83. Eatan, Keceipt, Eeticule. 

84. Eeward of Merit, Eihbon, Eing. 
85: Snake-ring, Seal-ring, Eivet. 

86. Eubher Band, Eule, Printer's Eule. 

87. Sand, Sash, Sausage. 
88o Saw-set, Scarf, Scissors. 

89. Screw, Screw-driver, Seal. 

90. Sealing-wax, Cigar, Cigar-case. 

91. Cigar-holder, Cigar-lighter, Sewing-silk. 

92. Shawl, SheU, Shoe. 

93. Shoe-peg, Shoe-string, Shot. 

94. Slate, Shmg-shot, Snuff. 

95. Soap, Spectacles, Spectacle-case. 

96. Sponge, Spool of Cotton, Spoon. 

97. Spring, Stamp, Postage-stamp. 
93. Revenue-stamp, Stick, Stone. 
99. Strap, String, Stud. 

100. Sugar, Surgical Instruments, Swivel. 

101. Sword, Syringe, Tablet. 

102. Tack, Tag, Tape. ' 



80 TEE SECRET OF SECOND-SIGHT. 

103. Tape-measure; Tassel, Thermometer. 

104. Thimble; Thread, Ticket. 

105. Ball-ticket, Bath-ticket, Excursion-ticket. 

106. Ferry-ticket, Lottery-ticket, Pa\^Ti-ticket. 

107. Pool- ticket, Eailway-ticket, Tinder. 

108. Tin-foil, Tobacco, Tobacco-pouch. 

109. Tippet, Tool of some kind, Toothpick, 
no. Toy, Trimming, Trowsers. 

111. Tumbler, Tweezers Type. 

112. Umbrella, Umbrella- cover. Veil. 

113. Vest, Yiohn, Violin-bow. 

114. Viohn- string. Vegetable, Wafer. 

115. Watch-guard, Water-color Sketch, Wax, 

116. Whalebone, Whip, Whistle. 

117. Window-catch, Wke, Wrench. 

If the first article in any triplet is offered by the audience, 
the performer merely gives the cue corresponding to the dis- 
tinguishing number of the triplet, affixing some such sentence 
as ^' What is this ?" to make the question natm-al. If it be the 
second article of the triplet, he adds the word here ; and if the 
third article, he substitutes or uses that. 

To give an example : Suppose a glove is offered. This is the 
first article of the fortieth irixilet. The question would be : 
'' Tell us (4) what this is, there (0)." 

Should the second article in the fifteenth triplet be offered, the 
question would be either, ^^ Sere, what's this? Go on (15)," or 
^^ CoT/ie (1), whafs this here? Well (5) f" and the answer in 
either case ^^A huttoyi-hooh.'^^ 

It sometimes happens that two articles of the same kind are 
offered either in immediate succession or in the same perform- 
ance, for the purpose of detecting whether the question is 
identical in each instance. But we are prepared for this, and 
avoid the snare. If, for example, two fans should be offered, 
one immediately after the other, for the first we would give 



THE SECRET OF SECOND-SIGHT 81 

the number cue, and for the second use merely " This ?" which 
is known as a repeating question. If the second fan should not 
be offered until later on, it may be politely declined on the 
ground that ^^we had that same article but a httle while ago"j 
or, if the owner be persistent, the word can be spelled out. 

In exhibiting " Second-Sight," a very wonderfal effect is 
reached by combining the two systems of the triplets and of spell- 
ing. Suppose a necUace, bearing the name '^ Jane," is offered j 
this is the way in which the question would be asked : (Kemem- 
ber that necklace is the third in order of the sixty -fourth triplet). 

"What is that, please (Q)f Make haste (4)." 

" That is a locket." 

" Tes, thaVs good P^ 

" It is a gold locket, and has a name on it." 

The yes and good, which sound merely ejaculatory, being 
respectively the cues for gold and name. 

" Let me know (J) the name. Come (A), do you know (N) it? 
Well (E) f " 

These questions may look strange on paper, but when asked 
in an abrupt, disjointed way, sound perfectly natural. 

So much for spelling and the triplets. Of course there 
are many other cues which are not here given j as those 
for a torn or broken article, colors, dates, countries and initials ; 
these are simply matters of pre-arrangement. 

In order to still further mystify the aadience, the performer 
picks up a call-bell, with the remark : " As many imagine that 
my questions convey the name of what is offered to me, I shaU 
dispose of that theory." 

Picking up some article, he taps the bell, and the answer 
comes as readily as if a question had been asked. This is con- 
tinued six or seven times, and then even the bell is put aside. 
The assistant on the stage turns his back to the audience, and 
the performer merely points at or picks up the articles. And 
yet they are described. 



82 THE SECRET OF SECOND-SIGHT. 

For the first of tliese methods^ it is merely necessary to 
memorize six or seven ordinary articles, such as are found in 
every audience; as a hat, fan, handkerchief, etc. These are 
taken up in a pre-arranged order, and constitute the hell-ques- 
tions. In a mixed audience so many things are offered that a 
choice is very easy. For the dumb business, a third person is 
brought in. This person is in some position where he can see 
whatever is offered to the performer — generally at a " peep- 
hole'' under the stage — and by means of a speaking-tube 
leading to the assistant on the stage, communicates the names 
of the articles. 

The fifth and last method — ^the one with which the trick is 
generally concluded— is what is technically known as the hat- 
faJce, ^^fake" being showman's slang for ^^ trick." Although 
introduced at the end, this part of the trick is begun when the 
performer first comes on the stage, and before the assistant 
appears. A soft felt hat is borrowed, and the performer re- 
quests the loan of a few articles. Considerable fuss is made 
in coUectiag these, and they are gathered from various parts 
of the house. As a rule, not more than three or four things 
are taken ; but with them are placed four or five odd articles 
belonging to the performer, such as a curious coin, a piu- cushion 
with a certain number of pins in it. Finally the hat is placed 
where all can see it, and the performer goes off for the assist- 
ant. As he passes behind the wings, he whispers to his as- 
sistant the names of the three borrowed articles. The trick 
is now introduced ; it proceeds through its various phases of 
speUing, triplets, bell-questions and dumb business, until at 
length the hat is reached. 

^^ As a final and conclusive test," says the performer, '^et us 
go back to the hat, which has never once left your sight. Will 
some lady or gentleman ask the questions ? " 

The articles are handed out singly ; of the borrowed ones, 



THS SECRET OF SECOND-SIGHT 83 

merely the name is given ; but of those belonging to the per- 
former, of course, the minutest details are furnished. 

The trick is done. The assistant retires, and the performer 
comes down to the footlights for his concluding speech. 

^^ Now, how is this done?" he asks. ^^Well, I don't mind 
telhng you, with the express understanding that it goes no 
further. It is neither mesmerism, spiritism, ventriloquism, 
rheumatism, or any other ism. It is brought about by the 
action of arcane-dynamics, subjectively submitted to the action 
of the passive agent, and the result, as you have seen, is a 
stentorophonic reproduction of the original idea ! I'm afraid 
it's not yet quite clear to some of you. Well, then, in other 
words, it's a system of mental telephony. When an article is 
offered to me, I seize it ) and then my assistant, he sees it. 
Ah ! you smile — you understand it ; but, remember, not a word 
outside as to how it's done." 

The performer bows, the curtain falls, and the audience 
retire as much in the dark as ever, except those who have read 
this explanation of the secret. 



84 PABLOB PANTOMIMES. 



PAELOE PAE'TOMIMES. 

This is a kind of performance that, when really well done, 
affords a great deal of fan and amusement. 

It naturally labors under some disadvantages, as compared 
with general dramatic representations, from the fact that the 
whole sense of the plot is dependent upon gesticulation and dumh 
show, aided, in some instances only, by the delusions and tricks 
that are incidental to most Pantomimes. The French, natur- 
ally a people of strong gesticulation in their ordinary conver- 
sation, excel in the art of pantomime; and we are mainly in- 
debted to the " Ravels,'' and other talented pantomimists, for 
elevating to a legitimate performance what formerly was only 
used as the frame-work of a ballet, and very often utterly un- 
inteUigible to the spectators. 

For school exhibitions, the Parlor Pantomime forms a very 
pleasing variety among other means of entertainment, as there 
are always to be found, in a number of young folks, some few 
at least who have considerable talent for mimicry ; and who, 
while studying and practising to amuse others, are themselves 
greatly benefited by the training necessary to perform their 
parts well. 

It would not be possible to lay down general directions that 
would cover every action and gesture that must occur in the 
course of even the most unpretentious pantomime, but there 
are certain conventional actions used on the stage to depict 
the various emotions of the mind; and, although few persons 
use exactly the same action under similar circumstances. 



PABLOB PANTOMIMES. 85 

the usages of the stage have defined some of them for the 
uniform use of all. 

Angek is depicted by drawing the mouth open, with the 
teeth firmly set ; shaking the head in a menacing manner; the 
eyes opened widely, and the eyebrows knit ; the hands clenched; 
stamping with the feet, and violent agitation of the body. 

Feae is shown by a sudden shrinking backwards, as if pre- 
paring for flight, accompanied by general tremor of the body ; 
the eyes and mouth are widely opened; the hands timidly 
raised, as if in irresolute defense. 

G-EiEF requires a solemn, impassive coimtenance ; the eye- 
hds lowered ; the hps drawn in ; the head hanging forward ; 
the hands clenched together at arms' length ; frequent sighs, 
and inattention to everything that is going on. 

Hateed is depicted by drawing one foot back, so as to turn 
away from the object hated; the hands stretched out as if to 
repel an attack ; the head averted ; the countenance expressing 
anger. 

Jealousy watches its objects stealthily, with flashes of an- 
ger, grief and scorn, with an occasional, but transient, gleam 
of hopeful joy. 

Joy shows itself by a bright and smiling face, dancing and 
clapping of hands. 

Love is described by pointing at the object, and pressing 
both hands on the heart, with a languishing expression of 
countenance ; followed by stretching both arms tenderly toward 
the object. 

Pity looks down on the object pitied, with uphfted hands, 
and a mixed expression of love and grief 

ScoEX for a person is expressed by turning away vdth aver- 
sion ; the eyebrows elevated ; the head dra^\Ti up ; the corners 
of the lips drawn down, and the mouth set as if to say the word 
<< pooh." 

WoNDEE or astonishment is shown by a stooping posture, the 



86 PAELOB PANTOMIMES. 

knees bent and tlie ha^nds resting on tliem ; tlie head forward ; 
the eyes and mouth open ; followed by a gradual straightening 
of the body and elevation of the hands and arms ; the mouth 
set as if to say ^^ oh ! '' 

Besides these emotional gestures, there are a few others of a 
conversational character, usually accepted as stage action. 

Calling a person not on the stage is performed by advancing 
to the part of the stage designated, facing off ; making three 
measured claps of the right hand on the left ; then drawing the 
body up haughtily with the arms folded, as if in expectation.. 
If the person called is present, the caller approaches him, 
touches him grandly on the shoulder, beckons him, retires a 
step, and awaits his advance. 

Trying to Becollect something is done by bending the head 
down, and thoughtfully tapping the forehead with the forefinger 
of the arm furthest from the audience ; gently shaking the head 
from side to side. 

BecoUection, following this effort, is expressed by raising the 
same forefinger upward, with a sudden gleam of intelligence on 
the countenance, and a quick nodding of the head two or three 
times in succession. 

A Demand for Money is made by stamping twice with the 
right foot, shghtly extended forward ; at the same time strik- 
ing the back of the right fingers on the palm of the left hand, 
extended forward and palm upward. 

Payment of Money w, performed by thrusting the left hand 
into the pocket, withdrawing it apparently fuU of coins, and 
transferring them, one at a time, with the thumb and forefinger 
of the right hand, to the right hand of the receiver, extended 
palm upward for the purpose. "When the necessary number 
has been transferred, the player returns the (apparent) balance 
to his pocket, places his left hand under the receiver' s right, 
and with his right hand folds the receiver's fingers carefully 
over, so as to secure the Imaginary coins in his hand. 



PABLOB PANTOMIMES. 87 

In Strilving a person in the face, tlie sound of the blow is 
made by the person attacked striking his hands together very 
quickly, turning away as if endeavoring to avoid the blow, but 
really to conceal the motion of his hands. 

TJianks are rendered with a graceful bow, and a downward 
sweep of the right hand, palm upward. 

The plot of a x^antomime, in order to be clearly comx)rehended 
by the audience, must necessarily be of the simplest kind. The 
success of the piece, therefore, entirely depends on rapidity of 
action and unflagging excitement, gradually increasing in de- 
gree as the climax is approached. 

The success of a pantomime, like all other dramatic perform- 
ances, dex^ends a great deal on ]promptitude and precision in all 
the details, which can only be attained by thorough stage man- 
agement ) and this in turn requires a good manager, who should 
be an adept in stage matters, able to iustruct and drill all the 
performers in their parts, and possessing knowledge and good 
taste in aU the teUing details of by-play or ^^ business." 

The manager's duties are as follows : 

When a piece is chosen, he reads the description of the pan- 
tomime to the assembled actors. Each performer then receives 
his or her part, with the manager's instructions for its perform- 
ance, and a rehearsal is called at a specified time. When all 
have been instructed and have practised thoroughly, an attempt 
is made to rehearse the parts ail together -, several rehearsals 
will be needed, and at least one full-dress rehearsal, with all 
the ^^ properties," &c., in perfect order, with the incidental 
music and all other accessories carefully attended to. 

Performers will find, in studytug their gestures, an iromense 
assistance by practising before a full length mirror, euabluig 
them to ^^ see themselves as others see them," and correct many 
an error of which they would otherwise be unconscious. 

There is considerable difficulty in selecting pantomimes that 
come within the powers of young people, the great majority 



88 PABLOB PANTOMIMES. 

being designed for practised professionals, and requiring access- 
ories of scenery and stage arrangements not likely to be within 
the reach, of youthful amateurs. 

The pantomimes inserted here are entirely practical, and can 
be made completely successful, with moderate amateur talent, 
and such ^^ properties '' and contrivances as will cause no seri- 
ous embarrassment in their preparation. 

The action for each performer is given in dialogue style, and 
lays down the directions for the actors in fulfilling their parts ; 
but the manager must be particular to provide ^^ business " for 
actors not actually in action, so that all who are in the scene 
are busy. In a pantomime, nothing has a more deadening 
effect than allowing one or more of the performers to be stand- 
ing still, awaiting his turn in the action. 

Love in Anibnsli. 

CHAPvACTEKS. 

Stephe:n". TJie Stern Parent. 
jEi^rN"Y. His daughter 

ROBEPvT. 



;PvT. ) 
Peasants. One male and tliree fer/iales. 



Fean"" *- ■^'^^ devoted lovers 



COSTUMES. 

Stephen. Swallow-tail coat. Make up to represent an el- 
derly man. Hair powdered to look gray. 

jE:Mi>rY. Calico dress, white apron. 

Robep.t. Dressed hke a fop. With white pantaloons, dress- 
coat, eyeglass. 
. Feazntk. Keat walking dress, business coat, &c. 

Peopeeties. — Table ; ironing-board same size as top of 
table," clothes-basket; handkerchief; flat-iron; pattern of 
cahco ; two letters ; sheet of paper ; pencil ; soap-box ; white 



PABLO B PANTOMIMES. 89 

hat, overcoat and cane for Stepeen ; straw liat ; newspaper ; 
pocket-lbook. 

SCEXE. A room tvitJi practical door at hack. Table in centre. 
Overcoat, cane and hat on a chair, right. STrPHEif sits at 
left end of taUe, reading neivspaper. 

jEiSTirs'. Leaves her work and runs to door ; looks out, as if 
expecting some one. 

Stephe:n'. Motions lier back to lier work. 

Jenex. Resumes work for a moment, tlien runs again to 
tlie door and looks out. 

Stephe:n". Rises and leads lier back to the table by the ear. 
Stamps and motions her to go on with her work and not go to 
the door again. 

Jexi^tt. Irons for a moment, then becomes impatient, wants 
to get rid of him. Shows him a piece of cahco, motions to him 
to go out and buy some like it. 

STEPHEii]'. Shakes his head ; searches his ]3ockets ) produces 
pocket-book ; shows it empty, shakes his head again, motions 
her away, and sits down again to read. 

{A knock is heard. 

Jektsty. Impatient and excited. Thinks ; sudden thought, 
takes letter from her pocket ; hands it to Stephen to take it 
away. Bustling around, and hurried, she helps Stephen with 
his coat and hat ; gives him his cane, and starts him out of the 
door. {Eodt Stephei^.) She rubs her hands, glad to have got 
rid of him ; steps through door, and leads in Frank. 
Enter Fp.ak-k. 

Both. Shake hands, and appear oveijoyed to meet. 

jEirNT". Hands Frank a chair, and takes another at ox^po- 
site side of stage. 

Both. Seat themselves, and cast glances a.t each other, he 
admiringly, she modestly and coyly. They gradually edge their 
chairs nearer together. 



90 PAELOB PANTOMIMES. 

Feank. Takes Jenny's hand, Imeels before her on one knee 
— expresses fervent admiration and devotion. 

{A cough is heard outside^ right. 

Both. Start up in consternation, and rush across stage. 
(Another cough outside.) Both seize the table and carry it off 
{left,) and return without it. 

Jeistn'Y. Takes a basket off the box {right,) and places it 
exactly where the table stood ; makes Frank kneel on the box 
on hands and knees ; places the ironing-board upon his back 
and covers it with a sheet, to look hke the table. Irons hand- 
kerchief vigorously. 

Enter STEPHEisr. 

Stepheis". Takes off his overcoat; places hat and cane on 
one chair ; draws the other chair to left of table and prepares 
to sit down. 

Feank. Kicks away the chair. 

STEPHEN". Falls heavily on the floor, astonished ; shakes his 
fist at Jenny, threatening her as he lifts himself slowly and stiffly 
up again. 

Jenny. Motions that she was busy ironing, and did not touch 
the chair. 

Stephen. Picks up the chair, replaces it ; makes beheve he 
is preparing to sit down ; suddenly straightens himself again 
and looks round at the chair. Seeing it ujidisturbed, he sits 
down with confidence, but 

Frank. Again kicks away the chair, and same ^^ business" 
is repeated. Finally 

Jenny. Holds the chair firmly in its place , while 

Stephen. Sits down, successfully at last, and takes out let- 
ters, which he reads, expressing great satisfaction as he reads 
the first, folds it up and puts it away carefully in his right 
breast pocket, near his heart. Opens the second letter, aston- 
ished at first, angry afterwards. Motions to Jenny for paper 
and pencil. 



PAELOB PJJ^TOMIMUS. 91 

Jennt. Leaves her ironing, goes out (left) and returns with 
writing materials; resumes her ironing for a moment; then 
stops. 

Stephen. Commences to write in a furious^ exaggerated 
manner. 

Feane:. Dances the table up and down ; then stops. 

Stephen". Accuses Jenny of shakiug the table. 

Jenny. Vigorously denies it ; motions that she had stopped 
ironing. 

Stephen. Seeing that the table is still again^ attempts in 
vain to write. 

Feank. Quietly moves the table about six inches away from 
Stephen. 

Stephen. Impatiently hitches his chair closer to it. 

Feank. Again moves the table sideways a little, so that the 
paper on which Stephen is writing moves away sideways to his 
right. 

Stephen. Grabs the paper, crushes it in his hand, throws 
it and the pencil angrily on the floor. Stoops to pick it up, and 
sees Frank's hat on the floor in front of the table. Lifts it up ; 
looks all over it, inside and out ; finds no name in it ; shakes 
his head; motions to Jermy inquiringly whose hat it is. 

Jenny. Snatches it ; motions that it is his own ; puts it on 
his head, slapping it well down on the crown. 

Stephen. Nods, all right. Looks round to chair and sees 
his own hat laying there with his cane ; hands Frank's hat to 
Jenny, gesticulating violently, and pointing to his own hat. 

Jenny. Takes Frank's hat, examines it carefully ; nods, and 
claims it as her own; places it on her head, and walks slowly 
and coquettishly around the table. 

Stephen. Follows her doubtfully, shaking his head. As he 
passes left end of table he receives a kick from Frank. Comes 
foi^ard limping, and rubbing his leg. Seizes his cane, and 
pokes it under the table. 



92 PABLOE PANTOMIMES. 

rEA]^7K. EiseS; tllro^YS the sheet over Stephen's head; takes 
Jenny by the hand and goes off quicMy, right. 

{Exeunt Feaxk and jEi^:NTr. 

Stephelt. Stamps around excitedly, struggling to free him- 
self from the sheet {business tvlth the sheet.) 

Enter Egbert, unconcernedly. 

Stepee:^". At last gets the sheet away from his head ; sees 
Eohert ; in his excitement mistakes him for Frank -, rushes at 
him, embarrassed by the sheet which still clings around his 
body and legs. 

Eobest. Becomes alarmed, runs aroimd the stage. 

Stepb:e:n". Follows him wildly, at the same time casting the 
sheet entirely away. 

Enter Peasas^t Giul. 

Peasajj't Girl. Catches hold of Stephen and stops him. 
Makes him look carefully at Eobert. 

Eobeet. Out of breath, also stDps ; looks at and examines 
Stephen {business ivith eye-glass.) 

Stepe:ee". Looks at Eobert. Does not know him. Walks 
around him, examining him from head to foot ; then drops ex- 
hausted on a chair. 

Peasant Gerl. Takes Eobert and introduces him with much 
ceremony to Stephen. 

Eobeet. Bows very grandly twice before Stephen. 

Stephei^t. Holds out his hand to Eobert hi a courtly manner. 

Peasant Giel. Laughs heartily. Claps her hands three 
times. 

Enter Feank, Je^s^^ty, and the other Peasants. 

Fpain"ji. Leads Jenny to Stephen. Both kneel on one knee 
before him. 

Stephek". Spurns Franli, offers his hand to Eobert and 
draws him near to Jenny. 

Peasais^ts. All surround Eobert and pull him away, teasing 
him and twisting-' him around. 



PABLOB PANTOMIMES. 93 

FPvAitk. Again takes his place by Jenny's side before Stephen 
and implores his consent. 

Stephen". Seems undecided, but finally relents and joins 
Frank and Jenny's hands, and places his left hand upon theirs, 
and stretches his right hand benignantly over their heads. 

Peasais'ts. All form in a ring, compelling Robert im willingly 
to join hands with them, and dance around Stephen and the 
lovers. 

Fsaitk:. Leads Jenny forward, the other three men choose 
partners, and a general dance or breakdown is started. 

CUPTAIX. 

The Miser^s Supper. 

CHAEACTEES AlO) COSTUMES. 

The Misee. Shabby dress-coat. 
Seeyant. In shirt-sleeves with apron. 
BoT. Concealed under the table. 

Psopeeties. — Plate ; knife and fork ; plate of meat ; a large 
tin dish -cover; glass full of molasses and water; tube of glass 
or macaroni bent in the form of a syphon ; newspaper ; bag of 
tin money ; piece of money with a long horse-hair or black 
sewing-silk attached to it ; a candle set at the end of a long 
white stick so as to make it three feet long ; two short eatable 
candles in candlesticks (these candles are cut from an apple, 
with pieces of almond for wicks) ; an empty glass ; a chair ; a 
trick-table ; a tame cat with the boy under the table. 

The trick-table is easily made. Take a common pine-wood 
kitchen table. In the centre cut a square trap-hole, hinged to 
open downwards, and fastened when closed by a button 
underneath. Near the right front corner bore an auger hole 
large enough to admit a candle through it. Procure a common 
tin flat candlestick, cut a,way the bottom of the centre tube, 



94 FABLOB PANTOMIMES. 

and fasten the candlestick on the table so that the centre tube 
corresponds with the auger hole. This allows the long candle 
to be pushed up and down through the tube of the candlestick. 
At the commencement this candle is wedged so as to project 
about two inches above the candlestick. Make two more 
auger holes near the candlestick. Paste a piece of cloth over 
the top of the table, cutting through carefully where the auger 
holes are, and around the central trap-door. Next fasten a 
strip of wood along the front and side edges of the table, pro- 
jecting about half an inch above the level of the table top ; on 
this strip hang a cloth of the same color and material as the 
table-cover, and reaching to the floor. 

Scene. — A poverty-stricken chamber. The trick table in 

centre. 

Enter Miser. 

MiSEPv. Looks cautiously around, starting at the sound of his 
own footsteps, with a bag of money hidden under the breast of 
his coat. Assured that no thief lurks in hiding, he places his bag 
of money on the trap in centre of table, covers it with his hat, 
and then paces gloomily up and down front of stage. 

Boy. Under the table, opens trap and removes the bag of 

money. 

Enter SsEYAiirT. 

Seeva2s"t. Places chair at right end of table, goes Qf£{left) and 
retiu-ns with plate, knife and fork, and glass, which he arranges 
on right end of table. Summons the Miser. 

MiSEE. Looks at plate and glass. Finds them empty. Points 
to his mouth to show hunger. 

SePvVAItt. Strikes his left palm to show he must have 
money. 

Miser. Eemoves his hat, and finds the money gone. Aston- 
ishment and terror. Replaces his hat on the ti^ap. Falls on 
his knees suppliantly- Starts up, collars the Servant and 
accuses him of having stolen it. 



PAELOE PANTOMIMES. 95 

BoT. Opens trap under tlie hat and replaces the money. 

Sekyaistt. Shakes him off, protestmg that he is innocent, 
pulls out all his pockets. Nothing there. 

Both. Search all round the room, and are about to fight. 
Confusion around the table. 

SeFvVAITT. Accidently swings his arm over the table and 
knocks off the hat; discoyering the bag of money just where the 
Miser left it. 

Miser. Astonishment and joy. Takes a piece of money 
(with the horse-hair fastened to it, the end of which he secui'es 
in his left hand), hands it to Servant over the glass. 

Servant. Accidentally lets it drop in the glass. (The coin 
begins to jump up and down in the glass, moved by the hair in 
Miser's hand.) 

Both. Alarmed, tremble at the knees, watching the bewitched 
coin, which soon becomes motionless. 

Seryaitt. Takes up the glass. The coin jumps out and 
disappears (invisibly jerked up and caught in Miser's left 
hand.) 

Miser. Hands Servant another coin. 

Servaktt. Takes the money, goes off {left), and returns with 
newspaper. Strikes a match and lights the candle. 

Miser. Takes newsi^aper from Servant, sits down; and, 
holding the newspaper close to the candle, co m mences to read. 

Boy. Pushes the candle very slowly upward ; holds it at its 
extreme height for a moment and then as gradually lowers it 
to its first position, and wedges it again. 

Miser. As the candle ascends he is absorbed in his paper, 
and rises with the candle, until he has to sit on the top rail of 
the back of the chair, with his feet on the seat. As it descends, 
he as gradually descends with it to his place. 

Boy and Miser. Repeat the same action. 

Seryai^t. Goes off ijeft), returns with glass of molasses and 
water. 



98 PARLOR PANTOMIMES. 

MiSEE. Takes glass, sips it, smacks Ms lips with deHght, 
and places it near one of the auger holes, and resumes his paper. 

BoT. Puts the glass syphon up through the auger hole, in- 
serts the short end in the glass, starts it runnmg by sucking on 
the lower end, and empties the glass, catching the liquid as it 
flows down in a bowl or tin cup. 

MiSEE. Lays down his paper, yawns, motions that he will 
take a drink, rubs his breast in anticipation, raises the glass to 
his lips, and finds it empty, (^^ business" of looking all round 
and under the glass to find the liquor). 

Seevai^t. Goes off {left), and returns with plate of meat, puts 
it on the centre trap, places the tin dish-cover over it, and taps 
Miser on shoulder to call his attention ; gives Miser knife and 
fork in his hands, tucks a napkin imder his chin, and bows. 

Boy. Empties the plate through the trap. 

Seeyast. Lifts the cover. The plate is empty. Astonish- 
ment and ^^ business'' of looking very carefully all over the 
plate and cover. Inside and outside. Eeplaces plate and cover 
and goes off {left) for more. 

Boy. Eeplaces the meat in the plate. 

SEEVAisTT. Eeturns after a fruitless search for more. Hesi- 
tates what to do, hfts the cover again, and finds the meat all 
right. Covers it up again, and rubs his hands with satisfac- 
tion; motions to Miser (^finger in open mouth,) nods, that there 
is something to eat at last. 

Boy. Draws the candle down and extinguishes it. Also 
withdraws both the plate and meat through the trap. 

Seevai^t. Seeing the hght has gone out, runs off (Jeft), and 
retarns with the two eatable candles. He hghts one. 

Boy. Pushes the long candle up again into its place. 

Sbetai^t. Perceives the original candle, blows out the 
lighted eata;ble candle, and lights the original again. Places 
the eatable candles on the table, and lifts the cover. Finds 
both meat and plate are gone, replaces the cover. 



PABLOB PANTOMIMES. 97 

Both. Frantic astonishment at the meanness of this last 
trick. 

Boy. At a signal given by the Miser, the moment before he 
overturns the cover, puts a small cat through the trap, under 
the dish-cover. 

MiSEE. Is so hungry that he picks up the two eatable 
candle, and eats them. Still hungry, he reaches out for the 
regular candle to eat that also, overturns the cover, and a cat 
jumps out. 

Both. Miser and Servant thoroughly scared, escape, one 
on each side of the stage, with knees bent and long burlesque 
strides, and arms swinging alternately. 

CUKTAIK. 

The Sleeping Beauty. 





CHAEACTEES. 




KmG. 


FouE Gentlemen. 


Cooi:. 


Queen. 


FouE Ladies. 


Page. 


Prince. 


Two Maids. 


Six Faieies 


Beauty. 


Two Musicians. 


Old Woman. 



costumes. 

Kjng. — Scarlet robe, trimmed with ermine, made of red flan- 
nel, edged with strips of split glazed wadding, with tufts of 
black worsted or cotton batting. Crown and sceptre. 

Queen. — Blue silk dress trimmed with the same style of 
ermine. Crown. 

Peince. — Court dress-coat, white vest with lappels embroid- 
ered with gold. Knee breeches, white silk stockings and 
buckle shoes. White satin is imitated by using glazed paper 
mushn — and gold embroidery by stamped gilt paper edging. 

Be AUTY.— Elegant white dress with train ; a gilt diadem on 
head. 



98 PABLOB PANTOMIMES. 

Gentlemen. — Black court-dress, with cloak hanging ovfr 
left shoulder. Knee breeches, silk stockings, buckled shoes, 
and black or white rod, five feet long, in right hand. 

Ladies. — White dresses with train. Hair powdered. 

Maids. — Calico dress, white apron. Small lace cap on back 
of head. 

Musicians. — Black or brown suit, consisting of long coat, 
knee breeches, stockings and shoes. Long clarionet (or paper 
imitation.) 

Cook. — ^Man in white jacket, white trousers, canvas shoes, 
and square paper cap. 

Page.— Fantastic court dress, white, with gilt spangles. 

Faieies. — Soft white tulle dresses, short fall skirts, pink 
stockings, white shoes ; dress spangled with gilt paper stars, 
and small gilt wings behind the shoulders. Five of them alike 
■ — the sixth, in blue instead of white. 

Old Woman. — Dark dress, white apron, skirt rather short, 
shoes and buckles, black lace mittens. A [crooked stick in 
right hand. A distaff in her left. Large silver rimmed spec- 
tacles, and large mob cap. 

Propeeties. — Cradle, table, five gilt plates, one common 
white plate, dishes, knives and forks, glasses, seven chairs, 
distaff, crooked stick, four white or black wands, five feet long, 
cooking pot, ladle, tin cup, two brooms, two imitation clari- 
onets or trumpets. , ^ 

This piece is a series of six moving pantomimic tableaux, the 
first, second, fourth and sixth of which take place in a royal 
reception room, the third and fifth in a kitchen. 

Scene I. — Reception room. A raised platform on right centre,- 
covered with carpet. A Regal chair or throne upon the plat- 
form, facing half-left. Right, a cradle, elegantly trimmed, 
with large doll-baby in it. Close by the cradle a chair. 



PABLOB PANTOMIMES. 99 

King seated on throne. Gentlemen and IiAbies grotiped 
around it. Queen seated rocking the cradle. 
Enter PagE; left. 

Page. Advances to foot of throne. Makes a deep obeis- 
ance. Points off left; nods, and goes out {left)^ "backwards and 
bowing. Ee-enters backwards, bowing to and beckoning on- 
wards FaikieS; and retires {right.) 

Enter Five Faieies. 

Fairies. Advance to throne, tripping hghtly. 

ELeng. Eises and welcomes the Faieies, bowing and waviag 
his hands to each. Eesmnes his throne. 

Faieies. Group, and dance ladies'-ehain, etc., before the 
King, while 

Maids {enter j right.) Bring in table ready set for five ; and 
place it {right) front. Eetire {right), and return with five chairs, 
which they arrange, three behind and one at each end of table, 
and retire again {right.) 

Page {enters, right.) Conducts the Faieies to the seats at 
table. Eetires quickly {right), returns with five gold plates, sets 
one before each Faiey. {JRetires, right.) 

Faieies. Examine and admire their plates, kissing their 
hands in thanks to the King. 

Cook and Maids {enter, right.) Carry in the dishes ; place 
them on the table, and help the Faieies, filling their plates and 



Faieies. Busy eating and drinking. {Business with hnives 
and forks, and glasses.) 

Enter Sixth Faiey, left. 

Sixth Faiey. Advances angrily to throne. Points at the 
other Faieies, threatens the King. 

King. Claps his hands, summoning Page. 

Page {enters, right.) Sees the Sixth Faiey, bows, retires 
(right), re-enters with chair, which he places front of table. 
Advances to Sixth Faiey, and leads her with great ceremony 



100 FABLOB PANTOMIMES. 

and seats her in tlie vacant chair. Bo^s and retires {right), 
re-enterS; and sets before lier a common plate. 

Sixth Faiey. Points at the golden plates^ then at her own^ 
pushes it away. 

Page. Counts five on his lingers. Motions that there is not 
a sixth. Bows apologetically. 

Sixth Faiey. Indignant^ seizes her plate and dashes it to 
the floor. Confusion. 

Kiifa. Eises. Tries to pacify her. 

Faiey. Eefuses to be pacified and adyances a step or two 
threateningly towards the cradle. 

QuEEN". Rises to protect her child. 

Five Faieies. Group themselves protectingly in front of 
cradle^ forming a tableau. 

CTTETATN-. 

ScEi^ II. — Reception-room. Throne as before, with another 
seat on it for tlie Qtteen. Couch on right. 

KiK^a and QuEEi^ on throne. Beauty half reclining on 
couch. 

Gej^tlemeis" and Ladies behind the throne. Page at 
foot of throne. 

Enter Old Woman"; left. 

Old Woman". With distaff in her left hand; and stick in her 
right; hobbleS; half bent, towards throne; stopS; and looks 
slowly around. Faces front, raises her armS; and laughs 
heartily; shaking her whole body. Then hobbles up toBEA"[JTY 
and offers her the distaff. 

Beauty. Takes the distaff; examines it, and gently closes 
her eyeS; droops her head; and sinks reclining on the couch 
fast asleep. 

Old Woman". Turns fi'ont; points at Beauty with her stick, 
and laughs heartily. Hobbles towards King and Queen. 



PABLOB PANTOMIMES. ICl 

Turns front, points at tliem with her stick, and nods to audi- 
ence; Then waves her stick over Ej:]srG and Queejnt. 

ELeng and Queeis". Go gently to sleep, nodding, and heads 
hanging down with closed eyes ; lifting heads once, and open- 
ing eyes sleepily; then settling down to sleep. 

Old WomAj^. Turns to audience, points with her stick at 
the two sleepers, and laughs again heartily. Goes through the 
same operations with the Page. Then puts the Ladies and 
GEi^TLEMEN to sleep in the same manner, laughing as before 
between each act. The Musiciaijs go to sleep with their in- 
struments in their mouths. 

Page. While the Courtiers are being operated upon, he half 
awakens, rubs his eyes and tries to get up. 

Old WoMAi^". Perceives him, and strikes him on shoulder 
with her stick. 

Page. Falls instantly asleep at foot of throne. 

Old WoMAif. Retires backwards {left), waving her stick. 

CUETAXN'. 



ScEi;rE III. — A Mtchen. Bight, a table with large iron pot on it. 
Shelf, hack, with culinary utensils, <&c. Wash-tub, washing- 
board, chairs, &c., arranged to taste. Cook, with ladle in 
hand, is stirring the pot and tasting its contents. Fiest 
Matd is siveeping {left). Secoi^td Maid is carrying a tray 
filled zvith cups, Sc. 

First Maid. Sweeps vigorously towards Cook. 

Cook. Turns round. Blows, as if to repel the dust. Bran- 
dishes ladle threateningly at Fiest Maid. Motions to stop 
sweeping. Makes believe the dust is terrible, sneezes and 
covers up the pot quickly. 

Secok-d Maid. Puts down tray on table; laughs at Cook, 
pulls his ear. 



102 PABLOB PANTOMIMES. 

FiEST Maid. Stops sweeping, goes to Cook, takes hold of 
Ms otlier ear. 

Cook. Dancing and struggling, breaks free from the Maids. 
Chucks them under the chin ; beckons them to come and taste 
the soup. 

Both Maids. Go to him, stoop down, heads forward and 
looking up, hands on knees, with mouth wide open. 

Cook. Uncovers the pot, dips the ladle in and brings it out. 
Places ladle to Fiest Maid's mouth. 

Enter Old Womai^. 

Old Womak. Looks around. Laughs. Points at the Cook 
and Maids. Turns head to audience ; nods. Then advances 
a few steps towards the group, waves her stick over them, and 
they all fall asleep just as the Cook is placing the ladle to First 
Maid's mouth, and the other Maid standing bent, with mouth 
wide open. 

CURTALN". 

Scene IV. Arrangements and characters exactly as at close of 
Scene II, all fast asleep. 

Enter Prdn ce, left. 

pEn^CE. On entering, looks around in amazement. Rubs his 
eyes, and looks around again. Goes up to the Ktn'g; lifts 
Kln'G's right hand, which drops as soon as Pei]N"ce releases his 
hold. The same with the Queei^t. Astonishment between 
each. Tries to lead one of the Ladies, who stands immov- 
able. Claps his hands close to Page's ear, without the slight- 
est efiect. Pulls nose of one of the Musicians. All immovably 
asleep. Next discovers Beauty, Rapturous admiration of her 
loveliness. Approaches her on tix^-toe. Takes her hand; ad- 
mires it ; drops on one knee and kisses it, and rises. 

Beauty. Instantly opens her eyes, rises, and gazes at 
Peince. 



PAELOE PANTOMIMES. 103 

Peince. Bows- low before her. Places his hands on his 
heart ; makes love to her. 

Beauty. Waves him aside with her hands and looks aston- 
ished at the sleepers. 

PEnsTCE. Takes her right hand ; implores her. 

Beauty. Tm^ns towards him lovingly, lays her left hand on 
his right shoulder, and her head on his left shoulder. 

All. Except Beauty and Pehstce commence to yawn and 
awaken. (Soft tremulous music ; suddenly a full chord is struck. 

All. Awaken completely, looking at one another, wondering 
what it all means. 

KrtfG. Eises; approaches Peiitce, looks at him; turns 
Beauty towards him. 

Beauty and Peln^ce drop on one knee before the King. 

King. Stretches his hands paternally over their heads. 
Then raises them up ; presents them to the Queen, who rises, 
takes KrN"G's arm. 

Page. Comes forward and takes hold of Queen's train. 

Beauty and Peln'ce range themselves behind the royal 
couple. Ladies, Gentlemen follow in couples. The Musi- 
ciAiv^s take their places at head of procession, and they all 
move in marching order, off left. 

CUETAXN". 

Scene Y. — KitcJmi, with Cook and Maids asleep in the same 
attitudes as at close of Scene III. Music jplays a march 
very softly. The procession at the close of Scene IV. 
marches in {right), and as soon as the Musicians at the 
head of the procession appear, tlie music strikes a full chord, 
and plays louder. Maids both taste the soup from the 
Cook's ladle. All three stretch, yawn, smooth their gar- 
ments ; and, as tlie procession passes off {left) of stage, fall 
in rear, andfolloiv off {left), dancing grotesquely. 

CUETAIN. 



104 PABLOB PANTOMIMES. 

Scene VI. — Beception room, same as in Scene 11. The same 
procession enters l., witlioiit PEnsrcE and Beauty. King 
leo.ds Queen courteously to the throne, which is placed in 
lack, right corner ; Queen sits doivn, then the King. 
Page takes his former position, at foot of throne. Musi- 
cians stand at rear, centre. The four couples. Ladies 
and Gentlemen perform the last figure of the Lancers' 
Quadrille; the Cook capering to the music, and frequently 
trying to join the dancers, but is held hack by the Maids, 
with whom he dances, turning one and tJien the otJier. At 
close of dance, Peince and Beauty, enter, left. 

Both. Advance to throne ; eacli kneels on one knee ; they 
rise and advance to front centre, standing a little apart, facing 
each other. 

King. Eises and joins their hands, placing his right hand 
upon their closed hands. Ladies and Gentlemen arrange 
themselves in semi-circle, right. 

Enter Old Woman, left, rear. 

Old Woman. Advances, hobbling, two steps; then straightens 
herself np, and is about to raise her stick at the lovers, when 
Enter Faihies, left. 

Faieies. Form a group m the ballet style in front of and 
facing Old Woman, whom they motion off, and prevent her 
from advanciQg. 
, Maids. Hold Coox by the ears, one on each side. 

TABLEAU — CUETAIN. 



PAELOIi PANTOMIMES. 105 

Jack's Triumph ; 

OE; 

LOVE UN DEE OBSTACLES. 

CHAT^ACTEES. 

Petee. — An old country gentleman. 

Jaket. — His ivife, a fine old lady. 

Kate. — Their lovely daughter. 

Albert. — A rich fop, Kate^s unencouraged suitor. 

Jack. — A rollicking sailor, Kate's decided 'oreference. 

Nelly. — Kate's nice little maid. 

Villagers. — Male and female. 

COSTUMES. 

In accordance with the several characters, m the old En- 
ghsh Dolly Varden style. 

Scene. — On left side the porch of a country house. Bight, trees, 
etc. Back, a landscape ; right of centre door, a large barrel 
or hogshead, with lid. 

Kate. Is discovered [sitting on a stool near house door, 
looking at a miniature, and weeping. Wrings out pocket-hand- 
kerchief, as though saturated with tears. Throws it off stage, 
and takes out a clean one ; same repeated. 

Albert. Enters {centre door)} advances to Kate; takes minia- 
ture, starts with surprise ; points at it ; goes through motions 
of hauhng ropes, and dances first steps of sailor's hornpipe; 
points again at miniature, then at Kate, shaking his head {a 
sailor is not fit for her ) Kneels on one knee to comfort, her. 

Kate. Impatiently motions him off, snatching the miniature 
from his hand. 

Albert. Retires, despondmgiy. {Exit Albert, right. A 
whistle is heard, hack.) ■ - 



106 PARLOR PANTOMIMES. 

Kate. Starts; looks back; gets up, clapping lier hands, 

Erder Jack, centre door. 
Jack. Runs up to Kate. They embrace^ and walk up and 
dowU; conversing. 

Enter Janet, from house. 
Jan'et (kohbling tvith stick.) Sees Jack and Kate; holds up 
both arms in astonishment, and turns to go into house. 
Enter Peter, from Jiouse. 
PetePw Eushes out of house, knocking Janet over; hobbles up 
to Jack, whom he swings roughly away from Kate, threatening 
her, and driving him away. 
Janet. Gets slowly up, and enters house. {Exit Jai^et. 

Kate. Implores Peter's pardon, and extends her hand to 
Jack. 

Petes. Drives Jack off [centre door), threatening him with his 
stick; then leads Kate into house. {Exit Kate.) Walks up 
and down stage, gesticulating fiercely. 

Enter Albeet, right. 
Petee. Sees Albert; welcomes him cordially, shakes hands 
with him, pats him on back, and leads him towards house. 
Enter Kate, from house. 
Albeet. Advances joyfully to meet her; tells her he loves her 
with all his soul. 
Kate. Despondingly shakes her head, and sighs. 
Albeet. Calls Peter; points to Kate's dress. 
Petee. Nods ; calls Nelly from house. 

Enter ]S[ELLX,/rom house. 
Albeet. Leads Nelly to Kate; points at Kate's dress; then 
motions off {right) to fetch a milliner. 

Nelly. G-oes to {right), and claps her hands, etc., calling. 

Enter Jack, disgiiised as a rrdlliner, with several dresses on 

his arm. 

Petee. Comes to milliner, and leads her to Kate. 

Kate. Refases to look at the dresses ; does not want any. 



PABLOB PANTOMIMES. 107 

Petek. Insists; leads milliner and Kate {riglit); leaves tliem 
there and returns to Albert; with whom he converses. 

MiLLrsTEPw Shows Kate the dresses, trying in vain to get her 
attention ; at last he lifts his bonnet and cmrled wig, and is 
recognized by Kate. 

Kate. Seizes him with both hands ; looks carefully through 
the dresses, dropping them one after the other on the floor, and 
converses with Jack; at last embraces him. 

Ajlbeet. Looks towards them; sees them embracing; points 
out the fact to Peter ; hastens towards the milliner, unobserved 
by the latter; pulls off Jack's bonnet and wig, and discovers 
Jack. 

Petee. Hobbles quickly up to Kate ; threatens her and Jack. 

Jack. Escapes off {right), shaking his fist at Albert. [Exit 
Jack.) 

Petee. Drags Kate into house, followed by Albert. Kate 
resists, but ineffectually. [Exeunt all. 

Enter Jack, disguised as a Peddler, with basket fidl of trim- 
mings, etc. 

Peddlee. Looks around ; sees house ; goes towards it, and 
knocks at door. 

Enter Nelly, from house. 

Peddlee. Points at his basket ; shows Nelly his goods, 

Nelly. Admires his wares; runs inside house; brings out 
Peter and Kate, and shows the basket. 

Petee. Signs to Kate to take what she likes ; goes round 
behind the Peddler (who is showing his goods to Kate), and 
looks over his shoulder at the basket. 

Peddlee. Suddenly gets up, upsetting Peter, backwards. 

Petee. Gets up, with Nelly's assistance, and knocks Peddler 
down with his stick. 

Peddlee. Falls with his feet in the air, showing his sailor's 
pantaloons on. Gets up quickly. 

Petee. Chases Jack with his stick. 



108 PABLOE PANTOMIMES. 

Jack. Defends himself^ and a scuffle ensues "between tliem. 
Enter Albeet, from house. 

Albert. Eushes to help Peter; stumbles over the basket, 
and runs head first Into Peter, doubling him. up, and throwing 
him down. Then attacks Jack, who disencumbers himself of 
his miUiner's dress, and a grand combat takes i)la'ce -, mean- 
while 

Petee. Picks himself up, rubs his back, shows signs of great 
rage, and pushes Kate and Nelly into the house, foUowing them 
and shutting the door. {Exeunt Petee, Nelly and Kate. 

Jack. Continues his combat with Albert with varied success, 
until both make a final dash at &ach other, miss, and fall, un- 
able to get up again from sheer fatigue. They make futile 
attempts to strike each other ; at last both blow at one another, 
and fall back exhausted. Jack then crawls ofi". 

( Exit Jack, right. 
Enter Nelly yrom house. 

Nelly. Looks around; takes the basket, etc., and puts it 
inside the house door. Then sees Albert ; goes to him ; raises 
his head on her knee, and fans him. 

Albeet. Soon opens his eyes, sits up, and asks for Avine to 
drink. 
■ Nelly. Euns to the house, and returns with a bottle. 

Albeet. Drinks ; rubs his back and stomach with the bottle; 
drinks again ; gets up, and drinks again. 

Enter Jaxet, from house. 

Albeet. Half intoxicated, reels round, and hits Janet on 
head with the bottle, knocking her down. 

Nelly. Goes quickly, and helps Janet up again. 

Albeet. Apologizes profusely to Janet, and assists her to a 
seat, and exits, {right.) 

Enter Jack, disguised as an old tvoman, dent nearly double, 
and hobbling ivith a stick. 

Jack. Goes up to Janet, and desires something to eat. 



PABLOB PANTOMIMES. 109 

Jajstet. Sends Nelly into house for food ; leads beggar woman 
to chaiTj telling lier to sit down. 

Enter K^te. 

Kate. Comes in witli tray of food and drink. Offers it to old 
beggar woman. 

Jack. Puts Ms bands on Kate's bead and blesses ber, at the 
same time discovering bimself to ber. 

ElATE. Drops tbe tray in surprise, but recovers ber composure 
quickly; picks up tbe bread, bottle, etc., replacing it on tray ; 
gives it to Jack, and kneels down by bis side. 

Jack. Eats, and makes love to Kate. 

jAiTET. Meanwbile drops off to sleei? on a cbalr. 
Enter Nelly, from house. 

Nelly. Comes hurriedly; sees Kate and Jack; from tbeir 
actions sbe guesses it is Jack ; goes to tbem, and tells tbem 
tbat Peter is coming. 

Jack. Jumps up witb a start, knocking tbe tray out of Kate's 
bands. Tbe noise wakens Janet, and general confusion. 

Nelly. Euns off {right), and returns witb a sack, puts Jack 
into it, and lays it near tbe bouse door. Sbe and Janet tben 
run into bouse. {Exeunt Nelly and Jaj^t. 

Enter Petee, frord house. 

Peter. Comes out to see wbat is tbe matter ; trips over tbe 
sack, receiving a blow on tbe back from Jack as be falls. He 
gets up, rubs bis back; sees tbe bottle ; picks it up ; takes out 
tbe cork and drinks ; rubs bis stomacb and drinks again, re- 
peating until tbe bottle is empty. G-etting ratber intoxicated, 
be turns and sees tbe sack ; staggers to it, and tries to sit on 
it ; tbe sack rolls away, and be comes down beavily on tbe 
ground. Gets up shaking bis head, and measures distance 
from his feet to tbe sack, so as to sit down on it this time, sure ; 
the sack rolls over again, and he falls as before. Angry, out of 
patience, and sleepy, be lays bis head on sack, which rolls 
away, and lets his bead fall with a bump. He falls asleep. 



110 PABLOB PANTOMIMES. ^ 

Jack. Cautiously puts Ms head out of sack ; looks around ; 
sees Peter asleep, and the coast clear ; crawls out of sack; and 
throws off his disguise. 

Enter Albekt, right. 

Albert. Sees Jack ; rushes at him, and tries to drag him off, 
{right.) 

Petee. Wakes up, sees them struggling, and hastens to help 
Albert. They overpower Jack, and force him into hogshead at 
hack of stage, and shut down the cover. 

Albert. Seats himself on hogshead, to keep Jack secure. 

PetePw. Goes off {right), and returns with a club. 

Albert. Gets off, and signs to Peter to kill Jack with the club. 
They both wait, watching the hogshead, one on each side, behind 
it. 

Jack. Lifts the lid slowly, puts his head out, and looking 
round, sees Peter with club. Draws in his head, just avoiding 
a terrible blow from the club. Same repeated twice. 

Peter. Is annoyed at missing him three times, and says to 
Albert that next time he will not miss. 

Jack. Again hfts the lid very cautiously, thrusting out a 
dummy head {exactly like him), which is crushed by Peter's 
club, and instantly drawn in again by Jack. 

Enter Villagers, just in time to see the last effectual hloio. 

Villagers. Surround Peter and Albert, and threaten them. 
Two or three seize and hold Peter and Albert, while the others 
turn the hogshead over and drag Jack out, hmp and powerless, 
apparently nearly killed, and group around him. 

Enter 'KA.TEfrom house. 

Kate. Euns in distracted; pushes Villagers aside, and takes 
Jack's head in her arms ; feels his pulse and heart ; motions 
one of the Villagers, who runs o^ {right), and returns with a tin 
cup of water. She takes it and moistens his forehead; binds 
his head with her handkerchief; gives him to a Villager ; goes 



FAELOB PANTOMIMES. Ill 

to Peter ; scolds him violently ; shows him wedding-ring, and 
insists on marrying Jack at once, before he dies. 

Peter. Is furious, and won't hsten to her. 
MeamvJiile the Villagers are holding a consultation, some of 
them pointing to Peter and Albert, shaking tJieir fists ; 
others pitying J A.CTS.. 
Kate. Leaves Peter, and goes towards Jack. 
Jack. Explains to Kate that he is not hurt ; shows her the 
dummy -head, which he has hidden under his jacket. 

Kate. Goes among the Villagers, and explams what she has 
just been told ; tells them to go to Peter and Albert, and make 
them give money. 

Two Villagers separate from the rest, approach Peter and 
Albert and derdand money — much money — or they will hang 
them. After a time spent in vain resistance 
Peter. Pulls out of his pocket a large bag of money. 
Albert. Does the same. 
T]ie two Villagers taTce the money, lay it on Jack's body, and 
carry him carefully off, {right). 
Kate. Watches the Villagers, and follows them off, {right). 

{Exeunt Kate and Villagers. 
Albert. Touches Peter on shoulder ; points at him, and signs 
that he killed Jack, and wiU be hanged. 
Peter shakes his head, and says the same back to Albert. 
Albert. Is tudignant, and tries to strike Peter, but is pre- 
vented by the Villagers who have them in custody. 
Enter Villagers right, dancing; headed ly Jack and Kate. 
Jack. Leads Kate to Peter ; shows Kate's left hand with the 
ring on it, to show they are married ; also shows him the two 
bags of money, which he puts in his pocket. He and Kate 
kneel down for Peter's blessing. 
Albert. Tries to attack Jack, but is held back by his keepers. 
Peter. Shakes his fist at Jack and Kate. Tells them they 
may go ; won't have anything' more to do with^them. 



112 FABLOB PANTOMIMES. 

Jack. Jumps up ; snaps Ms fingers in Peter's face ; takes 
Kate round the waist, and joins the rest in their dance. 
Enter JaijeTj from Jiouse. 

Jai^et. Sees the dancing, and Kate and Jack together. 
Looks at Kate's wedding-ring; at first astonished; goes to 
Peter and entreats him to come to Kate. After much hesita- 
tion 

Petee. Hobhles up to Kate and Jack, joins their hands, and 
blesses them. 

TaUeau, ivitli Yillagees in haeJcground. 

CUETArN-. 

The combat between Jack and Albert, on page 108, may be 
made highly melodramatic in its details, and rendered very 
effective if weU performed. K the skill of the actors will allow 
it, the battle may be fought with short swords ; the regular, 
harmless stage articles, of course ; but this will require prac- 
tice, and more thorough rehearsal than when usuig merely 
nature's weapons. ■ 

The only action that may need some explanation is on page 
1 10, where Peter has to teU. Albert that he has missed his mark 
three times, but will not fail in the fomth attempt. To make 
this plain, the following action is suggested for Peter's guid- 
ance : Strike the head of the barrel once with the club, hold up 
one finger, and shake the head in disappointment ; repeat a 
second and third time, holding up two and three fingers re- 
spectively. Then take the club in the left hand, and shake 
the right fist, clenched in a determined manner ; seize the club 
with the right hand firmly, strike a fourth blow, hold up four 
fingers, and nod repeatedly to Albert with a smile of satisfaction. 
When this action is finished, a gentle tap with the foot against 
the barrel will give Jack the ^^cue" to expose the dummy- 
head, etc. The rest of the play is very easy, and, if weU acted, 
will be fully as effective as a more elaborate performance. 



TSE ABT EXEIBIXION.. U3 



THE AET EXHIBITIOI^r. 

This amusing style of entertainment is of quite modern date. 
It involves a considerable amount of preparation and arrange- 
ment; but, if well got up, it fully repays the time and trouble 
expended in its elaboration. 

The Art Exhibition, as its name implies, consists of a regu- 
larly printed list of paintings, in imitation of the catalogue of 
an Art Gallery, or Collection of pictures or sculptures, each ar- 
ticle referred to in the catalogue being duly numbered to cor- 
respond with the description in the printed hst. 

Some of these descriptions are embelhshed with an appro- 
priate poetical quotation, and usually bear the name (imagi- 
nary, of course) of the artist. 

The Collection does not consist, as might be supposed, of ar- 
tistic paintings, &c., but of articles or objects which wittily and 
ludicrously fulfill the conditions laid down for them in the cat- 
alogue, and display a large amount of ingenuity and iuventive 
humor. Without any aid further than the comparison of the 
Works of Art upon the catalogue with their corresponding ob- 
jects, this is a very amusing exhibition, but under the manage- 
ment of a good ^^ showman" the effect is exceedingly mirth- 
provoking. 

For Church Fairs or charitable objects, the Art Collection 
should occupy a separate room, and a considerable amount may 
be reahzed by a small admission fee or by the sale of the cata- 
logues. 

The following catalogue will furnish sufficient material for a 



114 THE AET EXHIBITION. 

very complete exhibition, and also serve to illustrate the man- 
ner in which any inventive genius- with a keen appreciation of 
the ridiculous, can add almost indefinitely to the number of 
^^ artistic" gems. 



Catalogue of Works of Art. 

KOW ON PUBLIC EXHIBITION. 

^"Visitors are respectfully prohibited from touching the Works 

of Art. 

1. Horse Fair. Aj%er Bosa Bonheur. 

2. A Brush Between Two Cutters Hare. 

3. Caught in a Squall off Yarmouth FisJier. 

4. The Last of ^' Poor Dog Tray." Barker. 

5. The Midnight Hour C. Loch. 

6. True to the Core Greening. 

7. ^^ Spring, Beautiful Spring." Mayne. 

8. Tears, Idle Tears j an Imaginative Picture Strong. 

9. The Midnight Assassin B. Sharpe. 

10. family Jars ' = Fotter. 

11. Never Too Late to Mend S. Titch. 

12. Past Healing Kobler. 

13. The First Sorrow SmalcMld. 

14. Saved S. Kinflint. 

15. Lost Miss Sing. 

16. First Love , Sweet. 

17. The Death of the Camel. After Goodal. 

18. A Good FeUow Gone M.I. Slade. 

19. Portrait of a Gentleman Anonymous. 

. 20. Portrait of a Lady , Anonymous. 

21. Portraits of the Eeigning Sovereigns of Europe. . G. P. 0. 

22. The Last Man Col Seller. 

23. The Liirht of Other Davs ,Flint. 



THE AMT EXHIBITION. 115 

24. The Meet of Her Majesty's Hounds Hunter. 

25. Water Scene. 

'' And I hear 
Those waters rolling from the mountain springs 
"With a sweet inland murmur." 

2". The Maiden's Joy Bachelor. 

27. Motherhood E. Glade. 

" "Without a tear, without a groan, 
She laid it near a mighty stone, 
There, in its cool and quiet bed, 
She set her burden down and fled ; 
ISoT flung, all eager to escape. 
One glance upon the perfect shape 
That lay, still warm and fresh and fair. 
But motionless and soundless there." 

C. S. Caverley. 

28. Borrowed Plumes Wigg. 

29. Out For the Night Anonymous. 

30. Morning B. Buygoots, 

" See the rosy mom appearing. 
Paints with gold the mountain tops." 

31. Eepentance S. Elters. 

32. Maggie's Secret Bossetter. 

33. Somebody's Luggage S. Canty. 

34. Eusebius B. Linkers. 

35. Happy Childhood WacJcford Squeers. 

36. Not Such a Fool as He Looks The Exhibitor. 

37. The Last of the Army Beech. 

" WTiat desolation in the thought of those vast brigades of 
stalwart heroes who sprang to arms at their country's call ! 
They left the ploughshare in the mould, 
The flocks and herds without a fold, 
Eesolved to fight — come weal or woe — 
To perish— or defeat the foe. '' 



116 THE ART EXHIBITION. 

38. A Prison Scene ...La Trappe. 

^' Look on the Captive ! Through his dungeon grate 
Feebly and cold the morning light 
Comes stealing round him, dim and late, 
As if the sunshine loathed the sight. " 

39. The Lost Scent A. Bomer. 

" See the swift hounds, to earth their noses bent ! 
[;■ r^^ The hare has baffled them — they've lost the scent." 

40. Interior of China. L. Adler. 

" The almond-eyed Celestial dwells 
In homes as blest 
As om-s. The tranquil home that tells 
Of peaceful rest." 

41. The BeUe of the Season Carver. 

" The waiting throng upon the pier, 
How they rejoice, 
Her melting, dulcet tones to hear, 
Her welcome voice F* 

42. The Beauties of Old Age Bouget de Binquelle. 

" How lovely are the Autumn tints, 
The sere and ruddy leaf!" 

43. The Sweets of Childhood S. Eugar. 

" The dimpled cheek, the gleeful prattle ! 
Pleased with a doU, a whip, a rattle ! " 

44. The Old Beau. A study from Me , Batcliellor. 

45. Wild Flowers. An aesthetic study. Oscar, 

" With buttercup sweet and primrose rare; 
The clover with perfume fills the air." 

46. The Skipper's Home. A domestic scene M.A. Gots. 

" After a voyage over distant seas, 
At home again, the skipper takes his ease. " 

47. Ananias and Sapphira. A strikiog picture of 

[ retribution L. Eyre. 



% 



THE ART EXHIBITION. 117 

48. A Waterfall. An ideal scene Lothair, 

"■ See the cascade, whose feathering spray 
Sparkles in the light of day ! " 

49. The Fancy BaU A CMU, 

" Brilliant costumes in halls of dazzling light ; , 
Bright eyes and witching smiles," 

50. Tlie Water Carrier C. Bowton. 

51. CaiQ and Abel. An ante-diluvian sketch Adam. 

52. Matching the Carpet StreicJiholz. 

53. Study of a Head L. Vender. 

54. The Old Veteran R. A. Vanner. 

55. A Fruit Piece Corey. 

56. Down in the Canebrakes Miss Nancy Dill. 

57. A Bad Spell of Weather By a Student. 

58. A Drawing Subject Strong. 

59. Shells of the Ocean Borlon. 

60. A Tale of the Sea Hooker. 

61. The Unmarried Colonel Codd. 

62. The Faithful Detective. Loaned by the Pohce 
Department Hunter. 

63. Partial View of Croton Lake T. Hi^-st. 

64. A Survivor of the Revolution Moneypenny. 

65. The Sketcher Faber. 

66. The Andes Church. 

67. The Outcast Moeler. 

68. Babes in the Wood Fowler. 

69. Can't be Beat S. Windle. 

70. Euins in China " G. A. Meless. 

71. The Family Athlete BecJier. 

72. '^ A Terrible Temptation" T. Bapp. 

73. A Monument of Greece S. Chandler. 

74. Camp-Fire Lawrence. 

75. Paradise. After Milton Morrissey. 



118 THE AET EXHIBITION. 

76. Links of Mystery McCreedy, 

77. Game Piece C. Hess. 

78. A Perfect Foot B. Ule. 

79. Mementoes of the Great C. Lincker. 

80. Members of the Bar Babbitt. 

81. Drive in the Wood JSf. Ayler. 

82. Portrait of the Queen Hart. 

83. Old Times Paypa. 

84. A City in Ireland Corqtie. 

85. The Great Solitaire Diamond Ayss. 

86. The Four Seasons C. Astor. 

87. Reflection. A study of nature G. Lars. 

88. Things to Adore A. Locke. 

89. Views of Brussels C. Arpet. 

90. Scene on St. Patrick's Day Murphy. 

91. A Regular Bore ... G. M. Let. 

92. The Mother's Friend W. Lnslow. 

93. The Bridal. C. H. Arger. 

94. Lot's Wife S.Alt. 

95. Rose of Castile Unknown. 

96. View of Cologne Lubin. 

97. The Absorbing Subject S. Ponge. 

98. The Herald of Morning Bennett. 

99. A Little Indian. Maize. 

100. ^^ Locke " on the Human Understanding G. Arter. 

101. Kids at Rest G. Loves. 

102. The Tax Gatherer C. Laiv. 

103. Youthful Impressions B. Urch. 

104. A Tearful Subject L. Eake. 

105. Commentator on Acts E. Bose. 

106. Noah's Son .H. Amm. 

107. One Hundred Years Ago F. I. Gures. 

108. A Good Match Lttcy Firr. 

109. Falling Dew N. Otes. 



THE AET EXHIBITION. 119 

110. The Candidates Unknotm. 

111. A Boy's Ambition S. Raave. 

112. Visions of Old Age Kristaal. 

113. The Young Man's Horror M. lUen. 

114. True Bkie BaU. 

115. What a Blind Man Saw in Europe N. Ort. 

116. The Sower of Tares N. Eadel. 

117. Adam's Son C. Ayne. 

118. Internal Improvements Ayres. 

119. When Shall We Three Meet Again Unknown. 

120. The Pointer. An art sketch Goout. 

The articles to be exhibited in connection with the foregoiug 

catalogue should be neatly arranged on a continuous row of 
tables or low shelves, each article having a ticket with its cor- 
responding catalogue number attached to or in front of it. If 
there is a regular showman in attendance, it would be advisable 
to cover up with a napkin or cloth such articles as have any 
description or quotation relating to them in the catalogue^ the 
article to be uncovered at the close of the explanation ; this 
adds greatly to the intensity of the ^^ sell." 

LIST or ARTICLES. 

1. A handfal of oats and a wisp of hay. 

2. A tooth-brush lying between a razor and a jack-plane. 

3. A red herring. 

4. A sausage. The exhibitor will warn the visitors not to 
whistle while passing this article. 

5. Nothing but the ticket number. The exhibitor explains 
that the ^'midnight hour" has not arrived; but if any 
gentlemau will wait until it does (which will be punctually 
at 12 P. M.) he is welcome to do so. 

6. A rosy-cheeked apple. 

7. A coil of watch-spring. 

8. An onion. 



120 THE ABT EXHIBITION. 

9. Nothing. The exhibitor says he misses this object from 
its place, and if any ladies or gentlemen should find it, they 
will oblige greatly by returning it. He states that the 
missing object was a very fine specimen of a hvely flea. 

10. A pickle jar and a preserve pot. 

11. A boot patched all over. 

12. The fellow to the previous boot completely ragged and 
passed renovation. 

J 3. A broken doU. 

14. A money box, containing a few cents. 

15. Nothing. Explained that it is ^^losf and has not yet 
been found. 

16. A piece of molasses candy. 

17. A straw. Explained that this the identical ^^ last straw " 
that broke the cameFs back. 

18. An odd new glove. 

19. A mirror, to be handed to a gentleman to look at. 

20. A mirror, to be handed to a lady. 

21. Postage stamps of the leading European nations. 

22. Nothing. Explained that the last man wiU be seen going 
out just as the exhibition closes. 

23. An old candlestick and candle in it ; and a tinder-box. 

24. A piece of liver, 

25. A leaky can of water. 

26. A plain (wedding) ring. 

27. An Qggj uncovered after the quotation in the catalogue 
has been recited. 

28. A lady's false front-hair. 

29. An extinguished candle (or lamp). 

30. A small piece of black crape. 

31. A smashed hat, and a bottle of soda water. 

32. A grey hair labelled ^^her first.'' (A hair from a grey 
horse's tail, coiled up and tied with a thread. 

83. A comb and a paper collar. 



THE AET EXHIBITION. 121 

34. A pair of spectacles. 

35. A tliin rattan. 

36. A ticket on whicli is written " The Exhibitor." He ex- 
plains that this article is one which he does not quite 
■understand; and proposes to pass on immediately to the 
next. 

37. A shoemaker's last, to he uncovered after the quotation 
has been read. 

38. A mouse in a trap, uncovered after reading the quotation. 

39. An empty perfume bottle, upside down. 

40. A China soup tureen, on its side, showing inside view. 

41. A dinner bell, with " Sea View Hotel " in white letters 
upon it, uncovered after the quotation has been read. 

42. A wig, a set of false-teeth. A pair of spectacles. 

43. A syrup jug. 

44. A worn-out collar-bow. One that buttons on in place of 
a neck-tie. 

45. A sunflower and a lily. 

46. A piece of decayed cheese. Uncovered after reading the 
quotation, the exhibitor adds, '' How skippers revel in 
decayed old cheese." 

47. Two lyres, cut out of gilt paper. 

48. A lady's chignon, with a dehcate spray of feathery leaves. 

49. A child's soft ball, with a cover of various colors. 

50. A small pail. 

51. A walking-stick and a hand beU. 

52. A half-burnt parlor match inserted in a piece of carpet. 

53. A head of cabbage. 

54. The stump of a smoked- out cigar. 

55. An apple-core. 

56. The worn-out seat of a cane-bottomed chair. 

57. The word '^ Wether " written on a card. 

58. A porous plaster, or a blister. 

59. An oyster shell, and a clam shell. 



122 THE ABT EXHIBITION. 

60. The tail of a fish. 

61. A peach-stone with a single kernel displayed on its half- 
shell. 

62. A fine tooth comb. 

63. A glass of croton water. The name of the lake in the 
catalogue must be altered to correspond with the source of 
water supply^ when the exhibition occurs any where except 
in New York City. 

64. An old American coin^ dating during or before the revolu- 
tion. 

65. A lead pencil. 

QQ. Picures of Andrew Jackson and of Andrew Johnson. The 
cover of the novel ^^ Handy Andy '' may be added to the 
above portraits^ if handy, 

Q7. An old tooth. 

68. Two wooden doUs. 

69" A turnip. 

70. Pieces of broken chinaware. 

71. A tumbler. 

72. A mouse-trap baited with a piece of cheese. 

73. A tallow candle. 

74. A piece of camphor. 

75. Two dice. 

7Q. Half a dozen sausages, not cut apart. The mystery con- 
nected with these is their contents. 

77. Any piece selected from a set of chess men. 

78. A foot-rule. 

79. Cinders and clinkers from a furnace. 

80. A bar of soap, divided into quarter-sections retaining their 
positions but slightly separated to show the divisions. 

81. A nail partly driven into a block of wood. 

82. The Queen of Hearts taken from a pack of cards 

83. An old copy of the ^' New York Times.'' 

84. A wine -cork 



THE ABT EXHIBITION. 123 

85. The Ace of Diamonds from a pack of cards. 

86. Samples of pepper, salt, mustard, and vinegar. 

87. A looking-glass. 

88. A door-knob^ a lock, a bolt, and a door-key. 

89. Pieces of brussels carpet. 

90. A shocking bad old silk hat. 

91. A gimlet. The exhibitor will apologize for the non- 
appearance of the Hoosac Tunnel, which had been sent for 
specially for the occasion, but up to the latest hour had not 
arrived. 

92. A bottle of Winslow's Soothing Syrup. 

93. A horse's bridle. 

94. A pile of salt. 

95. Cakes of Castile soap arranged in rows. 
^Q. A bottle of cologne. 

97. A sponge. 

98. A copy of the ^^ New York Herald.'^ 

99. A small sample of Indian meal. 

100. The clasp of a garter. 

101. A pair of kid gloves. 

102. A claw for drawing tacks. 

103. A rattan, a ruler, and a birch-]:od. 

104. An onion. 

105. A potato laid on the blade of an ax. 

106. A ham. 

107. A card bearing the figures ^^ 1782." 

108. A parlor match. 

109. A promissory note, whose date of maturity is the day after 
the exhibition. 

110. Two or three dates laying in rock-candy. 

111. A razor and a shaving cup. 

112. A pair of spectacles of strong magnifying power. 

113. A mitten. 



124 



LITEBABY ENIGMAS. 



115. No article at all. He saw notliing. 

116. A large needle. 

117. A cane. 

118. AboxofpiUs. 

119. Two toy donkeys. 

120. A hand on an upright rod, pointing towards tlie door. 



LITEEAET ENIGMAS. 



This amusing pastime consists in submitting the following 
enigmas^ one at a time; to a social company for solution. The 
answer to each enigma is the name of some well-known Amer- 
ican or Enghsh author. 

What a rough man says to his son^ when he 
wishes him to eat his food properly. Chaucer. 

A lion's house, dug in the side of a hill, where 
there is no water. Deyden. 

A good many pilgrims and flatterers have knelt 
low to kiss him. Pope. 

Makes and mends for first-class customers. Tatloe. 

Eepresents the dwellings of civilized countries. Holmes. 

Is a kind of linen. Holla:n"d. 

Can be worn on the head. Hood. 



LITERARY ENIGMAS. 



125 



One name that means such fiery things 

I can't describe their pains and stings. Buens. 

Belongs to a monastery. Peior. 

Not one of the four points of the compass, but 

inclining towards one of them. Southey. 

Is what an oyster heap is apt to be. Shelley. 

Is any chain of hills, containing a certain dark 

treasure. Coleeidge. 

Always youthful you see, 
But between you and me 

He never was much of a chicken. Young. 

An American manufacturing town. Lowell. 

Humpbacked, but not deformed. Campbell. 

Is an internal pain. Aejjnside. 

The value of a word. Woedswoeth:. 

A ten-footer, whose name begins with fifty. Longeellow. 

Brighter and smarter than the other one. Whittiee. 

A worker in the precious metals. Goldsmith. 

A very vital part of the body. Haet. 

A lady's garment, Spek"See. 

Small talk, and heavy weight, ' Chatteeton. 

A prefix and a disease. De QurN"CY. 

Comes from an unlearned pig. Baco:n". 

A disa^eeable fellow to have on one's foot. BmrYA^N". 



126 LITER AUY ENIGMAS. 

A sick place of worship. 

A mean dog 'tis. 

An official dreaded by the students of English 
Universities. 

His middle name is suggestive of an Indian or a 
Hottentot. 

A manufactured metal. 

A game, and a male of the human species. 

An answer to, Which is the greater poet, William 
Shakspeare or Martin F. Tupper. 

Meat ! what are you doing ? 

Is very fast indeed. 

A barrier built of an edible. 

To agitate a weapon. 

Red as an apple, black as the night, 
. A heavenly sign, or a perfect fright. 

A domestic worker. 

A slang exclamation 

Pack away closely, never scatter, 
And doing so, you'll soon get at her. 

A young domestic animal 

One who is more than a sandy shore 

A fraction in American currency and the prevail 



Chukchill. 

CXJETIS. 

Proctoe. 

I Walter 
y Savage 
I LAin)OE. 

Steele. 

Tenxysos". 

Willis. 

Browning. 

SwirT. 

Cornwall. 

Shakspeare. 

Crabbe. 

Butler 

Dice:ens. 

Stowe. 

Lamb. 

Beechee. 

Milton. 



LITEBABY ENIGMAS. 



127 



Mamma is in perfect healthy my child, 
And thus he named a poet mild. otheewell. 

A girl's namC; and a male relation. Emersoij". 

Take a heavy field gmi, nothing loth, 
And in a trice you'U find them both. Howitts, sir. 

Put an edible grain, 'twixt an ant and a bee 

And a much beloved poet you'll speedily see. Beyaxt. 

A common domestic animal, and what she can- 
not do. COWPEB. 

Each human head, in time 'tis said 

Will turn to him, though he is dead. Geey. 

Found in the kitchen. Cooe^i. 

The witches' salutation to Macbeth. Hale. 

Grows upon a marshy bank. Eeade. 

Leads a rehgious order. Abbott 

The reigning monarch of the South. ^ Cottoht. 

An obstinate animal, and a protection against 

bm-glars. Mtjloce:. 

The dehght of an Englishman's heart. Hunt. 

Never melancholy. Gay. 

Ohver Twist's importunate demand. Moee. 

or 

Reminds one of Othello. Mooee. 

What a good man did in his trouble. Peaed. 

A silvery stream in a silvan dell, 

Where golden treasures often dwell. Beooe:e. 



128 PUNCH AND JUDY, 

I do it for information, 
I do it for recreation, 
It can music awaken, 
But is easily shaken. Reade. 

Thousands by me have met their death, 
All Nature withers at my breath. Feost. 

The knights of old my protection sought 
When in battle or tournay they gallantly 
fought, Sheilds. 



PUNCH AND JUDY. 

This exhibition is hailed with delight by the young folks 5 
and, if the truth must be told, it has still some attractions left 
for children of larger growth. 

It requires considerable study and practice to become an 
efficient Punch and Judy showman, but it weU repays the 
trouble. 

The first requisite is to manufacture the puppets. Each head 
must be fashioned out of a piece of soft wood, with a sharp pen- 
knife, and then painted with oil-colors. Punch's nose and chin 
may be formed of separate pieces of wood, and then fastened 
on to the face with a little glue. Our artist has drawn a full- 
length figure of Punch, and the faces of the other characters in 
the drama— namely : 1. Judy; 2. Policeman; 3. Foreigner; 4. 
Ghost; 5. Doctor; 6. Clown ; 7. Jones; 8. Hangman. The 
carver should study these illustrations attentively, and endeavor 
to imitate them. The eyes of the Ghost are two black beads, 
which may be fixed by pins, or loosely attached by short pieces 
of thread, so that they may roll about very effectively in 
their saucer-like sockets. The eyes of the other puppets may 



PUNCH AND JUDY. 



129 



be formed of white beads, fixed by black-headed pins in small 
cavities made to receive them. The hair and beard of the For- 
eigner, and the Clown's three tufts, may be made of any kind of 
fur; the Hangman's wig, and the Doctor's scanty locks, of worst- 
ed. Each head should be about the size of an ordinary heu's- 
Ggg, and should have a hole made at the bottom, large enough 
to receive the tip of the showman's finger. 




Fig. 1. 



Punch is the only puppet that exhibits its legs to the audience, 
and therefore the only one requiring lower limbs; these legs, as 
well as the hands of all the characters, are to be cut out of wood 
and painted. 

The cloth figures of the puppets must be so constructed, that 
the exhibitor can easily slip them over his hand and wrist ; to 
these hollow bodies the heads and hands are to be securely fast- 
ened, with a little glue, or some small tacks. Punch's figure may 
be formed of red merino, or any other gay-colored stuff ; the 
"goodly hunch'' and prominent stomach must not be forgotten; 
these important appendages may be stuffed with cotton or tow. 
Judy's dress may be made of cotton print; the Policeman's of blue 
cloth, edged with gold lace; the Foreigner's, of almost any kind 
of stuff; the Doctor's, of black cloth ; and the dresses of Jones 
and the Hangman, of any sober-colored stuffs. The Ghost must 



130 



PUNCH AND JUDY. 



be enveloped in a long white linen gown ; and the Clown must 
be arrayed in the true circus style. In constructing the dress- 
es, the reader will have his patience sorely tried, unless he can 
persuade a few young ladies to aid him with their nimble fin- 
gers. 

Motion is given to each ofthe puppets by the showman's hand, 
the forefinger of which moves the head, while the thumb and 
second finger work the two arms ', the annexed engraving will 
elucidate this operation. 




Fig. 2. 



We have not yet alluded to two important characters in the 
drama — namely, the Baby and the eccentric dog Toby. Any 
little doll may be dressed in long-clothes to represent the Baby, 
so the reader may be spared the trouble of carving another head. 
The part of Toby is generally filled by a living performer, but 
as we do not suppose the reader to be the owner of a properly- 
trained cur, we recommend him to procure one of those barkiug 
or squeaking dogs which are sold at the toy-shops j with such a 
Toby the fun of the piece will be increased rather than dimin- 
ished. 

Punch's stick must be about a foot long, and quite half an 
inch thick ; it must be formed of tough wood, as some rough 
work is performed with it during the progress of the drama. 
The gallows mast be of the letter F form, and must have two 



PUNCH AND JTJDY. 131 

holes bored through the end of the projecting beam ) the cord, 
having been knotted at one end, is to be passed through each 
hole, forming a loop or noose under the top of the gallows. The 
upright post is made to fit in a hole in the shelf. 

Having described the puppets, we will now say a few words 
about the show in which they are to be exhibited. The show 
we recommend is simply a box about three feet square, open in 
front and at bottom ; this is hung upon nails against the wall, 
above the head of the amateur showman, who is hidden from 
view by curtains which reach from the box to the floor. The 
box may be a large dry-goods box, with the lid and one of its 
sides removed. The inside of the box should be hung with 
green-baize, or any other dark-colored stuff. A proscenium cut 
out of pasteboard, and tastefully painted, should be fastened in 
front of the box, so as to conceal the unsightly edges of the wood. 
A shelf of wo6d about four inches wide should project beyond 
the proscenium, so as to form a little stage upon which Punch 
may drum his legs, lay down his stick, and place the dead 
bodies of his victims ; this shelf may be fixed by screws passing 
through the two sides of the box. 

During the performance the puppets must be kept in an open 
box hanging against the wall, within reach of the showman. 

If the parlor in which the exhibition takes place has a door 
communicating with an adjoining apartment, the plan given in 
Fig. 3. suggests a still simpler means of preparing the show. 

In the doorway, a frame is made to fit ; the shelf is fastened 
at the proper height, and the open space below the shelf and 
down to the ground is filled in with muslin or any old material, 
and covered with wall-paper. The upper part of the open door, 
which is visible to the audience, should be covered with a scene 
representing the front of a house with door and windows. This 
may be drawn on a piece of paper and pinned in its place on 
the door. 

The performer, having prepared everything, should learn the 
drama; and practice the different voices vrhich he intends to 



132 



PUNCH AND JUDY. 



give to the different characters. It will probably be some 
time before he can acquire the peculiar squeak of Punch, which 
is generally supposed to be produced by an instrument called 
" a squeaker/' which requires a great deal of practice to render 




Fig. 3. 

effective, and we therefore recommend the performer to trust to 
his own powers of mimicry. With regard to the musical ac- 
companiments, the amateur showman should get some kind sis- 
ter or cousin to sit at the piano, the notes of which are much 
more pleasing than those of the Pandean pipes and drum. The 
original text of the drama is here given, with a few slight alter- 
ations and additions. 



PUNCH AND JUDY. 133 

The Drama of Punch and Jndy. 

persons represented. 

Mr. Punch. The Doctor. 

Judy, his wife. The Hangman. 

Master Punch, an infant. Jones, the former owner of Toby. 

Joey, a clown. Toby Punch's little dog. 

The Policeman. The Ghost. 
The Foreigner. 

{Music. The x>ioL'yi'ist plays some popular melody. Curtain rises.) 

Pv^CB. (below). Root-to-to-to-to-too-o-o-it! Sha'n'tbelong; 
I'm only putting on my new boots. {Pops up.) Eoot-to-too-it ! 
(Lively music. Punch dances, and throws Ms legs over the 
front of the stage.) 

Where's my wife, I wonder f ( Calling below. ) Judy ! — Judy, 
my darling ! — Judy, my duck o' diamonds ! Oh! you are dress- 
ing the baby, are you ? 

{Enter J TJDY.) 

Jtjdy. Well, Mr. Punch, what do you want with me ? 

Pu:nch. Why, I want to give you a kiss, to be sure. {Hus- 
band and wife embrace fondly.) Now, let's have a dance. 

{Music. They dance. At the conclusion, Punch hits his 
wife on the head ivith his stick.) 

Judy. Oh ! you villain ! How dare you strike your own 
wife? 

Punch. Haven't I a right to do what I like with my own? 

Judy {taking stick from him). Then I'll let you know some- 
thing about woman's rights. {Hitting Punch.) Take that ! 

PuxcH. Oh ! 

Judy {hitting him again). Oh ! 

Puis^CH. Oh ! 

Judy {hitting him once more). Oh ! 

PuisrcH {taking stick from her, and knocking her out of sight). 
Oh ! That was to request her to step down stairs and feed the 
babby. Such a beautiful babby ! I'll go and fetch him. (IHs- 



134 PUNCH AND JUDY. 

appears, mid pops up again with his infant son in his arms. 
Sings). 

"Husli-a-bye, baby, 
Sleep while you can ; 
If you live till you're older, 
You'll grow up a man." 

Oh, you little duck ! There never was such a good child. 

Master Punch {cries). Mam-ma-a-a! 

Punch {thumping Mm with stick). Go to sleep, you naughty 
boy ! {Resumes his song.) 

" Husb-a-bye, baby — " 

Master Punch {louder). Mam-ma-a-a-a ! 

Punch {hitting harder). Hush-a-bye ! 

Master Punch {yells). Ya-a-a-ah-ah ! 

Punch {hitting him). Be quiet, can't you? Bless him, he's 
got his father's nose ! {The child seizes Punch by the nose). 
Murder ! Let go ! There ! go to your mother if you can't be 
good with me ! {Throws Mobster Punch out ofivindoiv, or rather 
over the front of the stage. Sings ; drumming zvith his legs on 
the stage). 

" She's all my fancy painted her, 
She's lovely, she's divine !" 

{Enter Judy.) 

Judy. Where's the boy ? 

Punch. The boy? 

Judy. Tes. 

Punch. What! did not you catch him? 

Judy. Catch him? 

Punch. Yes ; I threw him out of window. I thought you 
might be passing. 

Judy. Oh, my poor child ! Oh, my poor child I 

Punch. Why, he was as much mine as yours. 

Judy. But you shall pay dearly for it ; I'll tear your eyes 
out! 

Punch. Root-to-to-to-too-it ! {Kills Judy at a Uow.) 
{Enter Policeman.) 



PUNCH AND JUDY. 135 

PoLiCEMAif {brandishing Us cUtb). Hollo ! hollo ! hollo \ 
Here I am ! 

Punch. Hollo ! hollo ! hollo ! And so am I ! ( Whacks Po- 
liceman over the head.) 

Policeman. Do you see my club, sir ? 

Punch. Do you feel mine, sir ? {Hits him again,) 

Policeman. Sir, I am a Conservator of the Peace, a guardian 
of morals, and the Executor of the Law, and I will not be treat- 
ed to insolence. 

Punch. Oh, you are a Disturber of the Peace, a grinder of 
squirrels, an egg-sucker of the Law, and you won't be treated to 
gin -slings. 

Policeman. No nonsense, Mr. Punch ! You have com- 
mitted a barbarous and cruel murder, and you must answer for 
it to the laws of your country. 

Punch. Oh, indeed ! 

Policeman. I am a Policeman. 

Punch. And so am I. 

Policeman. You a Policeman ? 

Punch. Yes. 

Policeman. Where's your authority ? 

Punch. There it is! {Knocks him down.) 

Policeman {rising). Mr. Punch, you are an ugly, ill-bred 
fellow. 

Punch. And so are you. 

Policeman. Take your nose out of my face, sir. 

Punch. Take your face out of my nose, sir. 

Policeman. Pooh ! 

Punch. Pooh ! {Gives Policeman another taste of his stick.) 

Policeman. You have committed an aggravated assault on 
the majesty of the law, and I am under the necessity of taking 
you up. 

Punch. And I am under the necessity of knocking you 
down. {Kills him with a blow of his stick.) 

Punch {dancing). Root-to-to-to-too-it 1 



136 PUNCH AND JUDY. 

{Enter Foreig:n-er.) 
FonEiGi^ER. Yaw ! nix cum heraus. {Punch aims at and 
misses Mm. He disappears, and bobs up at the other side.) 
Yaw ! nix cum heraus. {Punch tries to hit him, but again fails.) 
Punch. Why don't you speak English I 
Foreigner. I can't hit him mit mein tongue. 
Punch. Then I'll hit you with my stick. There ! {Hits the 
unfortunate alien, who falls a lifeless corpse.) 

Punch. Eoot-to-to-to-too-it ! {Sings a fragment of a popu- 
lar melody/, drumming with his heels upon the front of the stage.) 
{Mysterious music. The Ghost rises and places its hands 
upon the bodies of Punch's three victims. TJie bodies 
rise slowly and disappear.) 
Punch {sings). 

" Rum ti turn ti iddity um, 
Pop goes " 

Ghost. Boo-o-o-o-oh! 

Punch. A-a-a-ah! {He throws up his hands, and kicks 
wildly.) 

Ghost. Boo-o-o-o-oh! 

Punch. Oh, dear ! oh, dear ! It wasn't me ! 

Ghost {throiving its arms around Punch). Boo-o-o-o-oh' 
{Punch faints. TJie Ghost sinks to appropriate music.) 

Punch. Oh, dear ! I'm very ill ; fetch a doctor. 
{Enter Doctor.) 

Doctor. Somebody called for a doctor. Why, I declare it 
is my old friend Punch. What's the matter with him, I wonder? 
{Feels the patienfs pulse.) Fifteen— sixteen — eleven — nine- 
teen — six. The man is not dead — almost, quite. Punch, are 
you dead ? 

Punch {starting up and hitting his medical adviser). Yes. 

Doctor. There's no believin;:? you ; I think you are alive. 

Punch {hitting him again). No; I'm dead. 

Doctor. Then I must go and fetch you some physic. {Exit.) 

Punch. A pretty doctor, to come without physic ! 



PUNC3 AND JUDY. 137 

{Be-enter Doctor, with a stick.) 

Doctor. Now, Punch, are you dead ? No reply? {Beating 
him.) Physic! physic! physic! 

Punch {returning to his senses). What sort of physic do you 
call that, Doctor ? 

Doctor. Stick-licorice ! stick-licorice ! stick-licorice ! {Be- 
peats the dose.) 

Punch. Stop a bit ! Give me the bottle in my own hands. 
{Taking cudgel from the Doctor, and thrashing him with it.) 
Physic! physic! physic! 

Doctor. Oh ! 

Punch. What ! don't you like your own physic ? {Hitting 
him again.) Stick-licorice! stick-hcorice ! stick-hcorice 1 

Doctor. For goodness' sake. Punch, pay me my fee, and 
let me go ! 

Punch. What is your fee ? {Lat/s doivn stick.) 

Doctor. A ten-dollar gold-piece. 

Punch. Give me the change out of a five-cent stamp. 

Doctor. Why, I want ten dollars. 

Punch. Let me feel for my purse, then. {Takes up the 
stick and hits Doctor.) One! two! three! four! Stop! that 
wasn't a good one! Pll give you another! Four! five! six! 
seven ! — {Delivers ten blows. The Doctor falls lifeless on the 
receipt of the last one.) The bill's settled, and so is the doctor. 
Koot-to-to-to-too-it ! {Sings.) 

{Enter Joey, the Clotvn.) 

JOET. Punch! {Disappears.) 

Punch. Who called me? {Looks round, and seeing no one^ 
resumes his song.) 

" I dreamt that I dwelt in marble halls, 
"With vassals and serf's by my si-wi-wide " 



{Joeg rises, and taking up the dead body of the Doctor, bobs 
its head in Punches face.) 
JoET. Bob ! 
Punch. Who said ''bob?" 



138 PUNCH AND JUDY. 

JoET {pushing Doctor into Ids face again). Bob ! bob ! bob! 

Punch. Bob ! bob ! bob ! {Knocks Doctor out of sights 
and discovers Joey.) Ah, Joey ! was that you ? 

Joey. No, it was I. 

Punch. Well, don't do it again, because Fm nervous. Come 
and feel how my hand shakes. {Joey approaches. Punch tries 
to hit him, hut he dodges and avoids the hloio.) Come a little 
nearer ; I won't hurt you. {Joey again approaches Punch, and^ 
again avoids the blow intended for him.) There ! it didn't hurt 
you, did it ? 

Joey. No. 

Punch. Nor that ? {Makes another failure.) 

Joey. No. 

Punch. Nor that ? 

Joey. Not a bit. 

Punch. Then what are you afraid of? Come and shake 
hands. {Joey approaches, hut has to duck doivn as before, to 
avoid a bloiu which Punch makes at his head.) Joey, you're an 
arrant coward. 

Joey. Don't call names. 

Punch . Then fight fair. 

Joey. Come on. 
(Music. Grand cornbat between Punch and Joey, the for- 
mer using his stick and the latter butting ivith his head. 
The Cloivn avoids all Punch's blows by dodging. After 
bobbing up and doivn in every direction. Joey suddenly 
appears behind Punch.) 

Joey. Hollo, Punch ! {Disappears.) 

Punch. Where are you, Joey ? 

Joey {again appearing behind Punch). Here I am. {Disap- 
pears again.) 

Punch. I saw him. {Peeps round cautiously and com,es 
into collision tvith Joey. Beth start back, frightened. Punch 
lays down his stick and peeps cautiously round the curtains) . I've 
got him now ! 



PUNCH AND JUDY. 139 

Joey {rising behind him, and seizing stick). And how do 
you like him ? ( Cudgels. Punch, ) 

Punch. Murder I fire ! thieves ! Toby, come and help 
your master! {Toby harks heloiv. Exit Joey.) 
{Enter Toby.) 

Punch. Good doggy ! I knew you'd come to help your mas- 
ter. Poor little Toby ! Ain't you fond of your master? {Toby 
snaps.) Oh, my nose ! Now, be a good dog, and you shall 
have a pail of water and a broomstick for supper. {Toby snaps 
again. ) Be quiet, sir, or I'll knock your brains out ! ( Toby barks, 
and Punch goes to strike him, but at the same instant Jones, tJw 
former owner of the dog, rises and receives the blow intended for 
Toby on his head.) 

■Jones. What did you do that for ? I shall make you pay 
for my head, sir ! 

Punch. And I shall make you pay for my stick, sir ! 

Jones. I haven't broken your stick. 

Punch. And I haven't broken your head. 

Jones. You have, sir ! 

Punch. Then it must have been cracked before. 

Jones. Hollo ! Why, that's my dog Toby. Toby, old fel- 
low, how are you? {Toby barks.) 

Punch. He isn't your dog. 

Jones. Yes, he is ! 

Punch. No, he isn't ! 

Jones. He is, I tell you ! A fortnight ago I lost him. 

Punch. And a fortnight ago I found him. 

Jones. We'll soon see whether the dog belongs to you. You 
shall go up to him and say, " Toby, poor httle fellow, how are 
you ? " 

Pu^TCH. Very good. {Goes up to Toby.) Toby, poor little 
fellow, how are you ? {Toby snaps at Ptmch's nose.) 

Jones. There ! you see ® 

Punch. What ? 

Jones. Why, that shows the dog's mine. 



140 PUNCH AND JUDY. 

Punch. No ; it shows he's mine. 
Joi^ES. Then, if he's yours, why does he bite you ? 
Pu:NrcB:. Because he hkes me. 

JoxES. Nonsense ! We'll soon settle which of us the doj^ 
belongs to, Mr. Punch. We'll fight for him. Now, don't you 
begin till I say '^ Time," {Punch knocks Jones down.) Mr. 
Punch, that wasn't fair. 

Ptj:f^CH. Why, you said " Time." 
JoxES. I didn't. 

Punch. What did you say, then ? 
Jones. I said, '' Don't you begin till I say ' Time.'" 
Punch {knocking Jiim down again). There ! you said it 
again. 
Jones. Toby, assist your master. {Tohy flies at Punch.) 
Punch. It isn't fair ; he didn't say ^' Time." 
Jones. At him again, Toby! {Tohy harks, and attacks 
Punch.) 
Punch. Murder ! please to call him off ! 
Jones. Very well. Come along, Toby ! {Exit with Tohg.) 
Punch {calling after them). I wouldn't have him at a gift; 
he's got the distemper ! Root-to-to-to-too-it ! 
{Enter Hangman.) 
Hangman. Mr. Punch, you are my prisoner. 
Punch. What for f 

Hangman. For having broken the laws of your country. 
Punch. Why, I never touched them. 
Hangman. At any rate you are to be hanged. 
Punch. But I never was tried and condemned. 
Hangman. Never mind ! We'll try you first and condemn 
you afterwards. 

Punch. Hanged ? Oh, dear ! oh, dear ! 
Hangman. Yes ; and I hope it will be a lesson to you. 
{Erects the gallows on the stage.) 

Punch. Oh, my poor wife and sixteen small children ! most 
of them twins, and the oldest only three years of age. 



PUNCH AND JUDY. 141 

HANGMAN". Now, Punch, you are ordered for execution. 

Punch. What's that? 

Hangman. You are to be hanged "by the neck till you are 
dead! dead! dead! 

Ptjnch. What ! three or four times over? 

Hangman. No. Place your head in the centre of this noose. 

Punch (putting his head under the noose.) There? 

Hangman. No ; higher up. 

Punch [putting his head over.) There? 

Hangman". No. Mr. Punch, keep your eye on me. In the 
first place, I put my head in the noose — so ! {Puts his head in 
the noose.) Well, when Pve got your head in, I pull the end 
of the rope. 

Punch. Very good; I think I know now. 

Hangman. Then turn round and bid your friends farewell. 

Punch. Stop a minute. {Fulls the rope tightly, and hangs 
the Hangman.) Oee ! oee ! oee ! I understand all about it. 
Root-to— too-it ! Here's a man tumbled into a ditch, and hung 
himself up to dry. {TJw Ghost rises.) 

Ghost. You're come for. 

Punch. Oh, dear I oh, dear ! What do you want ? 

Ghost. To carry you off to the land of Bobbetty-shooty. 

Punch. Stop ! Whom were you to ask for? 

Ghost. Why, Punch, the man who was to be hanged. 

Punch. PmnotPimch; there he is ! (Pomi^5 ^o Hangman.) 

■Ghost. Oh ! I beg your pardon ! {Carries off Hangman.) 

Punch {hitting the sinking Ghost.) Good night ! Pleasant 
journey! {Sings.) 

Root-to-too-it ! served him right, 
N'ow all my foes are put to flight 
Ladies and gentlemen all, good nighty 
To the freaks of Punch and Judy 

CUETAIN. 



142 SHADOW PANTOMIMES. 

SHADOW PANTOMIMES. 

There is a general tendency in amateur performances to at- 
tempt too much, and this is especially the case in exhibiting 
Shadow Pantomimes. The success of this really amusing ex- 
hibition depends on carefully avoiding that error, and doing 
thoroughly and intelligently whatever is undertaken. It needs 
very little effort to produce grotesque and laughable effects 
upon the Shadow- Curtain, but to carry out a successful per- 
formance entire, requires more than ordinary care and much 
practice. 

The first thing to provide is a curtain of white muslin, not too 
thick, but of substance enough to allow no rays of light to pass 
between the threads. The seams must be made with a very 
narrow margin, with close and tightly-drawn stitches, and the 
number of the seams reduced as much as possible by using the 
widest muslin that can be obtained. The size of the curtain 
will depend on the place of exhibition ; in a parlor, the space 
between the folding or sliding-doors affords a good place for it. 
A surface of six or eight feet wide, and eight or ten high, forms 
a curtain which will answer for small performers ; but for full- 
grown persons it should be larger ; and, where available, an 
area of twelve feet square will not be any too large. 

The size of the curtain having been fixed upon, and the seams 
sewn, provide a frame a little larger each way than the opening 
to be covered. Secure the curtain to the frame with tacks, 
stretching it sufiSciently to take out all folds and creases, and 
fasten the frame firmly against the casing of the door ; this ar- 
rangement makes a neater appearance than making the frame 
to fit inside the door-casing. Just before the commencement of 
the performance the curtain may be wet evenly with a sponge 
and clean water ; this renders the shadows much sharper and 
more distinct, and cannot well be dispensed with if the material 
of the curtain be thick. 



SHADOW PANTOMIMES. 143 

The selection and management of the hght are matters of the 
highest importance. Whatever kind of hght be used, it is nec- 
essary to have a bright and steady flame ; a large, dull, or flick- 
ering light being utterly useless. Where gas is burned in the 
room a flat-flame burner may be fitted to a stand placed on the 
floor, and arranged so that the gas-flame is not more than two 
or three inches from the ground ; in fact, the lower the better. 
The stand can be connected with the nearest gas-fixture in the 
room by means of a flexible tube. In parlors where there is no 
gas the best substitute is a low, flat, tin kerosene-lamp, similar 
to those used in the street-cars ; a glass lamp would involve too 
much risk of breakage and consequent danger of fire. 

The position of the light is the next point which claims our 
attention. About six feet behind the centre of the curtain 
place a stool or box, whose height is sufQcient to clear the top 
of the lamp. This is intended to protect the lamp and affords 
a convenient footing for stepping over the light ; it should, 
therefore, stand firmly, or else be secured to the floor. Just in 
front of this step the lamp is to be placed ; and, for convenient 
reference hereafter, we will call this the " first position.'' The 
edge of the flame should be presented toward the curtain, as a 
flat flame, especially if it be a wide one, will make the outline 
of the shadows on the curtain less distinctly defined. 

Three or four feet behind the footstool, and in a line with the 
centre of the curtain, place another box about two and a half 
feet high, to serve as a stand for the light when needed. This 
will constitute the '^ second position " of the light, and will be 
used when an act is being performed in which there is no need 
for stepping over the light. In such cases the light in the 
second position throws shadows more natural, and less dis- 
torted in their proportions, than when used in the first position. 

The lamp must be managed by a person w^ho gives his undi- 
vided attention to the performance ; he should understand thor- 
oughly what is going to be played, and thus be able to give all 
the necessary stage-directions to the players, who should follow 



144 SHAD O W PANTOMIMES. 

his orders implicitly. No performance can be successful with- 
out a competent stage-manager, and, least of all, a shadow-pan- 
tomime. In transferring the lamp from one position to the 
other, it must be done very gradually, or the effect on the shad- 
ows caused by its change of place will be too apparent, and 
this must never be attempted without previous practice ; in fact, 
no part of a performance can be made entirely successful in its 
effects without very careful and frequent rehearsal. Colored 
light may be thrown on the curtain by holding a strip of colored 
glass close before the light. Glass of a light color only must, 
be used, and perfectly clean ; dark colors deaden the light too 
much. During a performance t^ie shadow-light must be the 
only one allowed to be burning ; all others, both behind the 
curtain and among the audience, must be entirely extinguished. 

Where it is not convenient to arrange a drop-curtain, the 
light must be masked before the performance commences and 
at its close. A small box, or even a large book, placed close in 
front of the light, will answer, provided it be large enough to 
shade the entire curtain. 

The means employed, and the effects produced, in a shadow- 
pantomime, are so entirely different from those of a stage-per- 
formance, that a few general directions are indispensable : 

First, as to the position of the body. The side of the head 
must always be presented to the curtain, as the profile is the 
only shadow that is effective ; even when the rest of a perform- 
er's body is fronting the curtain, the head should be turned to 
one side or the other, so as to show its profile. He must never 
attempt to look at his shadow ; this throws the face at once out 
of profile ; during rehearsal only is this allowed. 

When a performer is standing side to the curtain, especially 
with the light in the first position, he must be very careful how 
he manages the shoulder furthest from the curtain ; unless he 
keeps both his shoulders exactly in a line with the light his 
shadow will be an astonishing one. A single trial will show how 
easy it is for a person to appear with a projection on his breast, 



SUADO TV PANTOMIMES. 145 

or a hump on his back, as the case may be ; and this is not al- 
ways desirable. Every thing should be done as near to the 
curtain as practicable without touching it ; always bearing in 
mind that, at a distance of two feet from the curtain, the shad- 
ow of a person five feet high will be all of seven feet six inches, 
and would be rather more prominent than pleasing. When 
both arms are brought forward into shadow they must be held 
near together, and in such position relatively that the shadow 
of the one is not eclipsed by that of the other. If the arms are 
held wide apart the shadow of the one nearest the light will be 
greatly the larger. The same may be said of any articles or 
objects held in the hands ; in order to bring them into shadow 
the hand must always be ahove or belotv the object held. 

Next, as to action. All movements must be well tested by 
rehearsal, as their effects on the shadow-curtain are often 
widely different from what we might be led to expect. If a 
performer wish, for instance, to scratch his head, it must be 
done with the arm well curved to the front ; in any other posi- 
tion the whole of the arm and most of the hand will be obscured 
by the shadow of the body and head. All motions must be 
made parallel with the curtain, or their effect is indistinct or 
entirely lost. Turning round must be done quickly and neatly, 
with an exact and complete reverse of profile. In passing one 
another (a thing which should be seldom done) performers 
should accomplish the movement close together, and rapidly, so 
as to prevent their shadows from getting mixed. When step- 
ping over the light, either toward or from the curtain, it must 
be done sideways, presenting the profile to the light, and with 
a long stride, so as to step down close to the curtain, if going 
on, or clear over the lamp, if going off. Any halting midway 
between the curtain and the light will leave only the lower half 
of the body in shadow, and of colossal proportions ; entrance or 
exit over the light should not be too often repeated, but con- 
fined to a performer's first appearance or final exit, or some 
other occasion when it may be done with good effect. 



146 SHADOW PANTOMIMES. 

There are very few persons, comparatively speaking, who 
are gifted with a talent for pantomime. Performers on the 
stage having considerable command over their features, and a- 
fair routine knowledge of mimic action, often fail to express 
their meaning accurately. How much more difi&cult must it be, 
then, to convey an idea by a shadow only ; in fact, to make your 
shadow speak. In a shadow the expression of the eye is lost ; 
the working or play of the features is imperceptible ; the only 
really movable portion of the face is the lower jaw, affording the 
means of opening or closing the mouth. If ever you should 
meet with a lucky individual who can really (not metaphorically) 
turn up his nose, engage him for your shadow -pantomime on the 
spot, as one possessing a talent not to be despised. 

As the facilities for emotional expression are so hmited, it 
follows that a shadow-pantomime must depend entirely for suc- 
cess on a rapid succession of thrilling and ludicrous situations, 
all so exaggerated as to be unmistakable in their meaning. 

Whenever any short dialogue or interchange of ideas occurs, 
between two performers, there is no other way to make it plain 
to the audience than to put your few remarks into words, re- 
peat them silently in your own mind, and accompany them with 
thoroughly appropriate but greatly exaggerated action. This 
is really the secret of all successful pantomimists. Two parties, 
when in apparent conversation, should be careful to speak one 
at a time, as it were ; that is, not to act both at once, but each 
wait for the other to finish what he is about, and then reply to 
it. Hence, the part each performer has to assume must be as 
thoroughly studied beforehand as though it were a stage-comedyi 
and the manager be always ready to prompt (in a low whisper) 
when the actor is at fault ; this, of course, requires perfect order 
and quiet behind the curtain. Nothing should be done in a 
hurry, but, on the contrary, with the greatest deliberation ; un- 
less every action is distinctly and completely performed the 
whole thing degenerates into a confused jumblC; utterly unin- 
telligible to the audience. 



SHADOW PANTOMIMES. 147 

All " Properties," or articles to be used in a performance, 
should be laid down on the floor or on a table, in exactly the 
order in which they will be required, within easy reach of the 
manager, and under his sole control. No person whatever 
should be allowed behind the curtain but those who are actually 
performing ; and the performers, when not acting, must be pro- 
vided with seats entirely out of the way of those who are act- 
ing, and remain seated, except when called by the manager. 

The scenery used is of the simplest description, being cut out 
of stout paper and pinned, or otherwise fastened, to the cur- 
tain. Common wooden chairs will cast as good a shadow as if 
made of the finest rosewood, and will not be injured by rough 
handhng. In cases where a table is needed for performance, it 
should consist of a strip of board, of length limited to a proper 
proportion to the size of the curtain, and not more than, say, 
nine inches wide ; nail it upon four strips of wood to serve as 
legs, and, when in stage-use, place it close to, not touching, the 
curtain. Small articles must be put down on the edge of the 
table nearest the light, or they will not come fally into shadow. 

Whenever any article of furniture is needed casually, in a per- 
formance, it should be handed over the light by the manager, 
high up, and as near the curtain as he can reach without bring- 
ing it prematurely into shadow, holding it steady for one of the 
performers to grasp it by the leg and lift it down to the floor 
close to the curtain. 

As seen by the audience, the hand of the performer passes up 
out of sight, and fetches the chair, or table, as the case may be, 
down from the ceiling. The article may be passed off in the 
same manner by reversing the proceeding. All small objects, 
such as fishes, birds, mallets, kettles, etc., are cut out of paste- 
board, and always held parallel with the curtain. To make a 
false nose, cut a piece of pasteboard to the required shape, and 
split open the back-edge sufiQciently to allow the real nose to 
be inserted ; it can be fixed securely, either by strings attached 
to each side and tied behind the head, or by gumming on with. 



148 SHADOW PANTOMIMES. 

adhesive plaster. The latter plan is the best; as it admits of 
the nose being apparently pulled off; and a handful of sawdust 
will make a good substitute for the consequent flow of blood. 
Costumes can be made of any old stuff, and trimmed, when 
needed, with paper. 

The terms ^^ right," ^^ left;" etc., refer to the portions of the 
stage as viewed by a performer facing the audience. 

In the following acts the stage-action is given in as few words 
as possible, the stage-directions being in italics, between 
parentheses. 

The Feejee Islanders at Home. 

CHARACTERS. 

Kameha — King of the Cannibal Islands. 
OcHEE — Kameha's son, a prince of the blood royal, and Commis- 
sary-general of the tribe. 
Ait Ikfant Feejee — A two-year-old native. 
Sleek — A missionary, short, fat and sleek. 

COSTUMES. 

Kameha — In tights, with short skirt reaching just above the 
knee. Woolly head, and three feathers stuck upright on 
back of head. Projecting nose, with ring hanging from it. 
Woolly beard on chin. 

Ochee — Also in tights and short skirt ; nose and ring having 
a strong family likeness. No feathers on his head. 

Sleek— Tight-fitting tail-coat and pantaloons. Silk hat. 
Exaggerated clerical lappels to his shirt-collar. Closely- 
fitting scalp covering his hair, and a decent wig over the 
scalp. 

An Infaitt Feejee— In tights altogether, and tight-fitting 
scalp. 
The costumes will require but little trouble to prepare. The 

tights may consist of ordinary merino elastic under-shirts and 



SHADOW PANTOMIMES. 149 

drawers, and stockings. A horse-hair wig, such as is used by 
negro-minstrels, if at hand, is the very thing, but it may be 
made of cotton- wool sewed into a tight-fitting muslin skuh-cai), 
or even on the elastic cotton caps used by skaters and bathers. 
If possible, however, a trick- wig should be obtained for Kame- 
ha, which allows of the hair on the top of the head being pulled 
upright by means of a string ; this is very effective. The sav- 
age's feathers and Sleek's collars are made of stout paper. 

A rag-figure resembling Sleek should be prepared; the head, 
arms and legs being sewn on in such a manner that they will hold 
together, but allow of being easily separated. 
Peoperties -.—Umbrella ; Book; Bow and Arrow (of rattan); 

Tomahawk ; Butcher-knife ; Fan ; Egg ; Chicken ; another 

Chicken, with an arrow stuck through it. 

SCENE. 

On right side, the entrance to a hut. On left side, a large 
pot hanging between poles. 

The hut is made of stout paper, and should not take up an 
inch more of the width of the curtain than is necessary to show 
the entrance; this latter is cut out of the paper and covered 
with thin tissue-paper, which must be oiled if not sufficiently 
translucent. The entrance should appear only a little darker 
than the light part of the curtain. The height of the hut may 
be five feet, and the entrance four feet. 

The pot or kettle is also made of thick paper, with a wire 
handle, and suspended by a stout cord from the two sticks 
which serve for poles. These are fastened at top, and secured 
against the frame of the curtain in such a position that the ket- 
tle hangs on the stove with its side against the frame. The 
kettle is about two feet high and eighteen inches wide, and 
rests on a square fire-place made of paper, a square portion in 
the front being cut out to represent bars. These bars are cov- 
ered with red tissue-paper to Imitate the glow of the fire with- 
in. The illustration, Fig. 1 represents the curtain stretched 



150 



SHADOW PANTOMIMES. 



on the frame, and the paper-scenery in position, the strips of 
wood fastened to the frame at A and B, and the fire-bars, C; to 



E 




Tig. 1. 



be covered with red tissue-paper. Eight over the kettle nail a 
strip of wood, D, on to the frame, and insert a small eyelet near 
the upper end of it. Arrange a similar eyelet, E, over the centre 
of the curtain. Pass a piece of fine sewing-thread through each ; 
at one end of each thread fasten a hooked pin, and secure the 
other ends on separate nails on the side of the frame. On the 
string Jj, hook a chicken, and on the string E, the other chick- 
en, with the arrow in it ; haul the latter up out of sight over the 
curtain, and let the former hang down in the shadow of the 
kettle. In front of the fire lay a few sticks on the ground. 
Commence with the light in the ^^ first position." (Seep. 143.) 



SHADOW PANTOMIMES. 151 

{Enter Kameha, ivith bow and arrow and tomahawk, over 

light.) 

Kameha looks right and left, dips finger in pot, tastes it, 
shakes his head; goes into hut, comes out again, stands at en- 
trance; points at kettle, then at his open mouth; shakes his 
head ; claps his hands. 

{Enter Ochee, over light.) 

Threatens Ochee, points at kettle, squats down near hut, and 
goes to sleep. 

Ochee puts his fingers to his nose, cuts a caper, and pick- 
ing up sticks throws them into the fire. Runs into hut, returns 
with fan, blows fire. Kettle boils. {A mouthful of cigar- 
smoke puffed from the side as if issuing from the kettle produces 
the appearance of steam.) Cuts another caper and produces an 
egg, which he drops into the kettle, and then squats down in 
front of his father and nods, as if asleep. 

Kameha wakes up, sees Ochee asleep, and hits him on the 
head with his bow to wake him. 

Ochee wakes up with a start, rubs his eyes and turns round 
to Kameha, who points to kettle. He then goes to kettle to get 
the egg, looks into kettle, starts back in amazement. Beck- 
ons his father, who looks over his shoulder in the pot. {The 
chicken on D is now hauled up by jerks). At each movement of 
the chicken both start with surprise. The chicken disappears 
over the curtain ; both point to the place. {A strip of cardboard 
with BAD egg cut out in it may be held for a moment from the 
side of the curtain over the kettle. The chicken should now be 
dra2vn down again by means of a stick with a hook at the end, 
the whole operation being done so as to produce no shadow on tlie 
curtain.) 

Kameha points to the words Bad Egg, and hits Ochee on 
the head. 

Ochee falls down with legs up, jumps up, runs into hut and 
brings out another egg. 

Kameha snatches the egg, smells it, shakes it, nods his head 



152 SHADOW PANTOMIMES. 

in approval, drops it in kettle and turns round to Ochee, shak- 
ing his fist. {The chicken is now hauled up near the top of the 
curtain, unobserved hy the players.) He turns again and looks 
iDto kettle. {The chicken is let down, so as to appear as if stand- 
ing on Kameha^s head.) 

Ochee claps his hands and points at chicken. 

Kameha looks up, sees the chicken {which is quickly drawn 
up out of sight), runs into hut for bow and arrow, appears again 
at entrance and shoots up {so that the arrow will fall beyond the 
curtain. The chicken at E is now let doivn, flittering, as if 



Both fall down afraid. 

Ochee makes a grab at it, but it is hauled quickly up again. 

Both shake fists at one another and stamp. 

Kameha kicks Ochee over light and exits into hut. 

Ochee comes out of hut, pushmg infant Feejee before him up 
to the kettle. 

Ineant turns round, with hands together, and begs to be 
spared. 

Ochee boxes his ears a-nd carefully puts him in the kettle 
and exits {left). 

Kameha, putting out his head from hut, watches these pro- 
ceedings with satisfaction, withdrawing his head when Ochee 
leaves. 

{Enter Sleek, left, with umbrella under arm, and hook in left 
hand, as if reading.) 

Sleek, making gestures with right hand, as if preaching, ad- 
vances slowly. Starts, looks around him, dips finger in kettle, 
withdrawing it quickly, as if burned; blows on his finger and ex- 
amines it closely. He again looks in kettle, and discovers in- 
fant ) lays down book and umbrella ; holds up hands in horror ; 
lifts it out and wipes it off with his hands. 

Infant runs off {left). 

Kameha puts his head out of hut and draws it in again. 

Ochee comes out of hut on all fours and goes toward Sleek. 



SHADOW PANTOMIMES. 153 

Sleek turns suddenly, sees the hut, and steps toward it, but 
tumbles over Ochee j gets up slowly, rubbing himself; tries to 
grasp Ochee, who jumps over light. 

Kameha appears at door of hut with bow and arrow. {Re 
must shoot so as to hit the hook, which Sleek holds convenient! u 
for the purpose.) Holds up hands in amazement, at his shot 
being warded ofl'; kneels down and kisses Sleek's foot in token 
of submission. 

Ochee enters {left), behind Sleek, looks in kettle, finds the in- 
fant gone, turns round, sees Sleek, creeps up to him, runs knife 
round his head and scalps him {lifts his wig off), and throws 
scalp to Kameha. 

Sleek puts hands to head and stamps with pain. 

Kameha runs into hut, returns with tomahawk, hits Sleek 
on head, knocking him down, and general scuffle on top of 
Sleek {affording opportunity for Sleek to roll away hack under 
light, and the stuffed figure to he rolled into his place; during 
this the light must he raised up gradually ahout two feet, and 
then transferred to the " second position.^' Seepage 143). 

Both get up slowly, one at each end of the figure. 

K am eha lifts one leg of figure and lets it drop. 

Ochee lifts one of the arms and drops it again ; lifts the fig- 
ure to a standing position {holding it hy the middle of hack with 
one hand). 

Kameha examines arm, leg, etc., rubs his stomach, then 
rubs his hands with satisfaction and goes into hut. 

Ochee lets the figure slope backward, as if heavy, and pushes 
it upright again, staggering. Same business repeated. 

Kameha comes out of hut with saw, seizes an arm and cuts 
it off. Takes hold of the figure and hands the arm to 
Ochee. 

Ochee takes it to the kettle, drops it in, cuts a caper, and 
looks in after it. {The arm stretches up out of the kettle, hits 
Ochee on the head, and falls hack into the kettle. This is done hy 
the manager, from the side, using his oivn arm and fist.) He 



154 SHADOW PANTOMIMES. 

rubs his head, turns round and takes the figure again from 
Kameha. 

Kameha cuts the other arm off and holds the figure as before. 

OcHEE takes the arm to the kettle, again receiving a blow on 
the head which knocks him backward, upsetting the figure 
and Kameha; general fight again, ending by their resuming 
their former positions. 

The same business is repeated with the legs, which are in 
turn cut off and transferred to the kettle ; last of all the head. 

Kameha examines the body and sits down on it. 

Both rest a moment, watching the pot, which begins to 
steam. 

Kameha gets up, goes to the pot, pulls out a leg, tries it 
with his teeth, struggling violently to bite a piece. No go ; 
throws it back in pot. {The lody lias meamvJiile been withdraivn 
hy means of a hooked stick. ) Goes back to seat himself again and 
tumbles over backward ; looks around for the body ; it is gone ; 
takes hold of Ochee, points to the spot where the body was ly- 
ing, and boxes his ears. Points to kettle and shoves Ochee 
toward it. 

Ochee looks in kettle, lifts an arm half out, which knocks him 
down. 

Kameha picks him up, kicks him, goes to kettle, and is alscf 
knocked down by a leg ; sits up, rubs his eyes ; gets up and 
looks again in kettle, puts his hand in, but finds nothing. 
{The chickenis noiv let doivnfrom D on to Ms head and the manager 
croivs) ; looks up quickly, sees chicken {which is draivn up tvith 
a single jerk) ; rubs his eyes, looks up where the chicken dis- 
appeared ; looks again in kettle, and finding nothing gets in a 
passion ; turns round, stumbling over Ochee ; gets up and faces 
Ochee, points to his arms and then to the kettle, to his legs 
and head and again to the kettle ; makes a motion as much as 
to say ^^they are all gone." Points again at kettle. 

Ochee looks at kettle also- \The head sticks out of the pot 
and makes a Ha ! Ha! !) 



SHAD W PANTOMIMES. 155 

Both start and run into hut, retui-ning cautiously on tip- 
toe. 

{Light to " first 2:)osition," while both are in hut.) 

Sleek, dressed as before, with wig and hat on, enters slowly 
[left), exactly as at first. 

Kameha sees him first, and his hair stands on end with fear. 
Trembles excessively and jumps over light. 

Ochee then sees Sleek, and rolls over back into the hut. 

Sleek points at him and then at the book, which he holds up 
aloft as the triumph of civilization over barbarism. {A loiv 
chair or stool is handed him over the light.) Puts the chair in 
centre of curtain, mounts it and ^gesticulates as if preaching 
{moving continually to hide tJie effect .of the change of position in 
the light, tvhich should be very gradually raised perpendicularly 
from its position to about five feet from the ground). When at 
that height, he finally makes a bow and steps down from chair 
{straight bach under the light). {To the audience. Sleek will seem 
to step down into the ground.) 

{Curtain.) 



All Sin in Search, of a Meal. 

CHARACTERS. 

Chotamait — Hungry and moneyless, in search of a meal. 
Eestatjeaitt Keepee — With a very mixed bill of fare. 
WaitePv — Too active to wait long. 
C AEPEXTEK — With such a saw as you never saw before. 

COSTUMES. 

Chen'amain" — This part should be sustained by a small thin per- 
son dressed in tight drawers ; short sack coat, with short 
sleeves; Chinese cap, with brim turned up all round; a 
long pigtail back of head ; long moustache, hanging down 
about a foot, made of soft cord ; and, if possible, short 
thick shoes, in Chinese style ; a piece of putty stuck on the 



156 SHADOW PANTOMIMES. 

tip of his nose, so as to make a handsome pug (if naturally 
so gifted omit the putty), and high cheeli bones, made with 
the same material, will add greatly to the Celestial make- 
up of his appearance. 

Restaurant Keepee should be portly, or be padded to appear 
so, and should wear an apron in addition to a plain Chi- 
nese costume -, he must have no hat, but wear his hair 
smooth on his head, with pigtail and moustache. 

Waiter is best represented by a thin-legged person, who can 
take a long stride, and wears neither coat nor hat ; a short 
apron will complete his costume ; his head got up as ludi- 
crously as possible, and in Chinese style. 

Carpenter need be distinguished only by a square paper cap. 

Properties : — Large Saw with exaggerated teeth. Bill-of-fare : 
a strip of strong paper, six inches wide and three feet long, 
with different designs cut out in succession ; for instance ; 
a string of four or five sausages, a frog, a fowl, a pig, a nice 
pair of rats, a snake, a cat, a dog, half a dozen eggs, and 
as much as will fill the paper in length, of such humorous 
objects as the fancy may suggest. Articles corresponding 
with the bill-of-fare, made of pasteboard. Restaurant- 
check, consisting of a square paper with $12 cut in It in the 
manner shown in the illustration, Fig. 2. Basket. 




Fig. 2. 

SCKNE. 

The right edge of curtain should be trimmed with Chinese cor- 
nices similar to the side of a pagoda ; and from the upper part 



SHADOW PANTOMIMES. 157 

a swinging sign, with the words^ Restaueant — No Teust, 

cut in it ; this can all be done by cutting the required shapes 

out of stout paper (see Fig. 2. ) and pinning them on the curtain. 

{Light in "first position.^^) 

{Enter Cb.inamaj^ over light.) 

Cbinaman, staggering with weakness from extreme hunger, 
manifested by pressing both hands on stomach, pointing with 
finger repeatedly to open mouth, and sadly shaking the head 
and waving the hands. In the course of his agonies he. catches 
sight of the restaurant-sign and goes through action of dehght, 
cutting capers, throwing up and catching his hat, etc.; at last 
summons Restaurant Keeper, by stamping twice with foot and 
and majestically beckoning with one arm ; then stands with 
folded arms, waiting. 

Restauea^t Keepee enters {right), obsequiously bowing 
and rubbing his hands one over the other. 

CHrN"AMAE" demands food {stamps tivice and points ivith fin- 
ger to open mouth), and then points with hand {off Tight), as if 
instructing him to go and fetch something to eat. 

Restaueant Keepee unrolls a long bill-of-fare, pointing to 
the different articles on it, as if for the Chinaman to select' to 
his taste. 

ChdnTAMait selects a great variety, and exhibits signs of 
impatience. 

RESTAimA:N'T Keepee turns to go {off right), and receives an 
additional impetus from Chinaman's leg. 

CHiNAMAif continues to manifest severe internal pangs of 
hunger, pointing to open mouth, and rolling on the ground on 
his stomach, and a variety of other contortions. {This shoidd 
he the result of careful practice, as the shadoiv can he made to 
assume most ludicrous and impossible positions, if ingenuity be 
exercised). 

Waitee enters {right), empty handed, and is received with a 
fury of impatience by Chinaman, who finally chases him off the 



158 SHADOW PANTOMIMES. 

Stage (left), follows hinij and both reappear immediately {over 
light) in flight and pursuit, and the Waiter escapes {affright). 

Chinaman, exhausted, puffs and blows, shaking fist (0/ 
right), and finally sits down, squatting {le/i of stage, facing right). 

Waiter enters {right), with a basket full of the articles 
Chinaman has ordered, and sets it down in front of him. 

Chinaman, in delightful anticipation, signs impatiently to 
Waiter to hand over the food quickly, and receives, one by one, 
a large number of objects from the Waiter, which he, with great 
ostentation, swallows, rubbing himself down the breast and 
showing signs of extreme delight. {The act of stvallowing is 
accomplished hy passing the object just behind the shadow of the 
open mouth, and letting it drop down at the side of the performer, 
zvhere it can remain flat on the ground, and may be used over 
and over again, at the option of performer.) At last he comes 
to a big rat, which he holds up by the end of its long tail. At 
this rather less delicate morsel he hesitates, measures his open 
mouth with his fingers, and compares with size of rat. After 
some doubt, he crams it (apparently) down, but before he lets 
go of its tail (the only part now visible) he chokes, and tries to 
eject it, seemingly tugging at the tail to get it out, in which, 
after a protracted struggle, he succeeds, and shows symptoms 
of great relief; after viewing it a moment he again attempts to 
swallow it (having first bent it a trifle, so as to make its shadow 
a degree thinner), and manages to worry it down. {During 
this time the perform-er must manage to stujf out the front of his 
drawers with a cloth, previously laid flat on the ground ; so that, 
tvhen he gets up, Ms insides will appear to have benefited by his 
repast.) He now gets up, throws basket {over light), and then 
kicks Waiter {over light), and dances around, delighted to find 
that his stomach is in better condition. 

Restaurant Keeper enters {right) and goes through busi- 
ness of complimenting him on his improved appearance, con- 
cluding with politely requesting his money, handing Chinaman 
a $12 restaurant -check. 



SHADOW PANTOMIMES. 159 

Chinama]^" as politely receives it and gracefully bows Res- 
taurant Keeper out. {Exit Bestaurant Keeper, right.) He then 
regards the card with astonishment, pulls both pockets inside 
out. feels all over himself, looks in his shoes — can't find a cent ; 
first appears greatly troubled, then stands in attitude of deep 
thought {left hand on right elbow, head bent doivn a little, and 
right forefinger tapping forehead). 

Restaueant Keeper enters {right), demands his money, 
{holds out left hand, palm upward, and taps it with bach of fin- 
gers of right hand, also palm upward). 

Chixamab" conveys him the information that he has none. 

Eestaueaistt Keepee indignantly and peremptorily demands 
it, working himself up into a passion, threatening Chinaman. 

Chikamak falls on his knees and begs to be spared. 

Eestatjeant Keepee won't hear of it ; calls {claps his hands 
three times) for Waiter, who enters {over light) and orders him 
to fetch the Carpenter {points uptvard and goes through motions 
of sawing). Exit Waiter {left), returning immediately {same way) 
with Carpenter. 

{Light transferred to ^^ second position.''^) 

Restaueant Keepee signs to Carpenter that Chinaman has 
eaten till his stomach has swelled, and then won't pay, and ex- 
plains bj ' signs that he wants Carpenter to cut him open, in order 
to get his food back again. 

CnnTAMAi^q-, horror-stricken, implores for mercy, but can 
make no impression on the obdurate Restaurant Keeper, and 
finally tragically faints {centre of stage) from terror. Exit Res- 
taurant Keeper {riglit). 

Caepextee with a great deal of preparation and fuss, with 
the assistance of Waiter, who holds Chinaman's legs down, com- 
mences to saw him open, longitudinally, of course. 

Positions — Chinaman, lying full length on ground, head to 
right. Waiter {left), kneehng, with hands on Chinaman's feet, 
Carpenter {right), with left band on Chinaman's forehead, hold- 
ing his head down, saw in right hand, going through motion 



160 SHADOW PANTOMIMES. 

of sawing, apparently getting deeper at each cut. {This action 
takes place at side of, and not on Chinaman ; the saw will thus 
appear to penetrate.) 

Waiter, laughing, picks up all the articles that Chinaman 
swallowed {now lying fiat by Chinaman^ s side), one by one, 
looks at them and throws them over light. ( While this is going 
on the cloth must be ivithdrawnfrom Chinaman's drawers, so that 
his stomach ivill have shrunk to its former meagre dimensions.) 

Q's.T^AM.AJSi during this operation occasionally gives a twitch 
or a start, as if of pain. 

Cahpentee then goes off {left), returning with a stout twine, 
and long {wire) needle, and immediately goes through the motion 
of sewing up Chinaman's rauch-abused inwards, at conclusion 
of which all exeunt {left), except Chinaman. 
{Light to " first position.^^) 

Chinaman gradually recovers ; rubs his eyes, as if he had 
been dreaming. Gazes with dismay at his reduced stomach, 
and after a little by-play of uncertainty what to do gets slowly 
over the light. 

{Curtain.) 



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Dick's Original Album Verses and Acrostics. 

Containing Original Yerses 

Wot Aidograph Albums; 
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it containg also Two Hundred and Eighteen Original Acrostio Verses, the 
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The Debater, Chairman's Assistant, and 

Euies of Order. A manual for Instruction and Keference in 
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Forms for Treasurers' , Secretaries', 
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How to draft Resolutions and other 
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A Model Debate, introducing the greatest 
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The Rules of Order, in Tabular Form, 
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Dick's Ethiopian Scenes, Variety Sketches 

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Banjo; 
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Dialect Sketches and Eccentricities; 
Dialogues and Repartee for Inteiiocictor 

ami Bones; 
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Dick's Irish Dialect Eecitations. A carefully 

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Worcester's Letter-Writer and Book of Busi- 
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270 Specimen Letters, adapted to every Age and Situation in 
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Mrs. Partington's Carpet-Bag of Fun- Oontaming the Queer. 

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Fox's Ethiopian Comicalities. Coutaining Strange Sayings, 

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Yale College Scrapes ; or, How the Eoys Go it at Hew 

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How to ¥/rite a Composition. The use of this excellent hand- 
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Duncan's Masonic Bitnal and Monitor; or, Guide to tJw 

Three Symbolic Degrees of the Ancient Yorh Rife, Entered Apprentice, FeVow 
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lander's Expose of Odd-Pellowsliip. Containing all the Lec- 
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gpaytli's Brauglits or Gheekers for Bc?>:inn8rs. This treat- 
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Day's American Eeady-Heckoner. By B. H. Day, TMa 

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A Manual of Love, 



How to break of an engagement, 
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man, 
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after reception should be observed, 



The Art and Etiquette of Making Love. 

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Frank Converse's Complete Banio Instructor Withont a 

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How to Amuse an EveBiiig Party. A Complete collection oi 

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Frost's Laws and By-Laws of American Society. A Com- 
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Frost's Original Letter- Writer. A complete collection of Orie:- 

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K'ortii's Book of Love-Letters. Tv^itli directions how to write 

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Eow to Shine in Society ; or, The Science of Conversation. 

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^e Poet's Companion. A Dictionary of all Allowable Ehymes 
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of "The Juvenile Speaker." 



Contents. 



Eh! What is it? 

That Awful Girl 

The Lady Killer 

How I Made My Fortune. 
A Cure for Obstinancy 



o -5. 
2 



Contents. 



4 

2 
3 
2 

4 



A Fair Fight 

5 5 Between Two Stools. . 

2 1 The Pet of the School. 

Maud May's Lovers 

The Heiress ' Euse 

Aunt Jerushas Mistake 2 1 2 The Cardinal's Godson 

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Dick's One Hundred Amusements for Evening Parties, 

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Musical and other innocent sells. 



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Tiie Fireside Magician; or, Tlie Art of Hatnral Magic 

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Howard's Book of Conimdrnms and Eiddles. Containing 

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The Parlor Magician; or, One Hundred Tricks for the 

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Book of Eiddles and 500 Home Amusements. Containing 

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vTh 



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Complete Phonographic Teacher, intended as a School-book, to afforij! 
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How to Learn the Sense of 3,000 French Words in one 

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same by very slight and easily understood changes in their termination. 16- 
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How to Speak in Public; or, The Art of Extempore Oratory. 

A valuable manual for those who desire to become ready offihand speakers ; 
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Live and Learn. A guide for all those who wish to speak and 
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The Art of Dressing Well. By Miss S. A. Frost. This hook is 

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Bound in boards, cloth back 50 Ct3. 

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Martine's Sensible Letter- Writer. Being a comprekensiyo 

and complete Guide aud Assistant for those ■who desire to carry on Episto*- 
lary Correspondence ; coutaininp; a largo collection of model letters on the 
simplest matters of life, adapted to all ages and conditions — 



EMBRACING, 



Letters of Courtesy, Friendship and 
Affection ; 

Letters of Condolence and Sympathy ,• 

A Choice Collection of Love-Letters, 
for Every Situation in a Courtship ; 

Notes of Ceremony, Familiar Invita- 
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Acceptance and Regret. 



Business Letters ; 

Applications for Employment, with 
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Letters between Parents and Children; 

Letters of Friendly Counsel and Re- 
monstrance ; 

Letters soliciting Advice, Assistance 
and Friendly Favors ; 

The -n^hole containing 309 Sensible Letters and IsTotes. This is an iayalua- 
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207 pages, bound in boards, cloth back 50 cts. 

Bound ia cloth 75 et3. 

Martina's Hand-Book of Etiquette and Guiae to Trne 

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Dick's Quadrille Call-Book and Ball-Eoom Prompter. Con- 
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quantity of music necessary for each figure, and simple explanations of all 
the figures which occur in Plain and Eancy Quadrilles. This book gives 
plain and comprehensive instructions how to dance all the new andpopulaj; 
dances, fully describing 



The Opening March or Polonaise, 
VanovrS Plain and Fancy Quadrilles, 
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Plain Lancers and Caledonians, 
^lide Lancers and Caledoniaiis, 
Sa,ratoga Lancers, 
Tlie Parisian Varieties, 
The Prince Imperial Set, 
Social and Basket Quadrilles, 
Nine-Pin and Star Quadrilles, 
Gavotte and Minuet QuaArilles, 



March and Cheat QuadriUes. 
Favorite Jigs and Contra-Bances, 
Polka and Polka Redo^va, 
Redowa and Redowa Waltz, 
Polka Mazourka and Old Style Waltz^ 
Modern Plain Waltz and Glide, 
Boston L-ip and Hop Waltz, 
Five-Step Waltz and Schottische, 
Varsovienne and Zulma L' OrientalA^ 
Galop and Beux Temps, 
Esmeralda, Sicilienne, Danish Bance^ 



AND OVEU ONE HUNDRED FIGURES FOR THE "GERMAN; 

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Paper covers 50 <^' 

Bound in boards 75 ctSt 



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The American Housewife and Kitchen Directory. Thisval- 

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Walker's Cribbaj^e Made Easy. Being a new and complete 

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142 pages, bound in boards 50 Gts* 

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Box JSS'JSt NEW YOirK. 



Dick's Butch, S'rencli and Yankee Dialect Eecitationg. 



An unsurpassed CoUectii^i f 

Ludicrous and Extravagant 
DUTCH DIALECT. 
Per Mule Slitood on der 

StRMinboad Deck. 
Go Tay, Becky Miller. 
Der Drumtner. 
*Iys;el Snyder's Barty= 
Srijder's Nose. 
1) r n ■ Yords of Isaac. 
Pi-Ii.'.uTdl. 

Betse.T u'ul I Hafe Bust IHs. 
Sclinei.le^' sees Leah. 
Dot Pun.iy Leetl« Baby. 
Schnitzeri's Philosoperto. 
Der Dog und der Lobster." 
Scblosser's Ride. 
Mine Katrine. 
Maud Mrdier. 
Bin Doutsches Lied. 
Hans and Pritz. 
Schneider's Tomatoes. 
Deifsi-lie Advertisement. 
Vas E-ender Ilenshpecked, 
Life, Liberty and Lager. 
Der Ooot Lo'okin' Sbnow. 
Mr. Schmidt's Mistake. 
Ilotne Again. 
Dot Sn.rp'rlse Party. 
Der Wreck of der Hezberus, 
Isaac llosenthal on the 

Chinese Question. 
Hans Breitmann's Party. 
Shoo Flies. 

A Dutchman's Answer. 
How Jake Schneider "Went 

Blind. 
I Vash so Glad I Vash Here. 
The Dutchman and the 

Yankee. 
How the Dutchman Killed 

the Woodchuck. 



f Droll Dutch Blunders,Frenc 

Yankee Yarns, each Recitat 

Der Nighd Pohind Grisd- 
mas. 

The Dutchman's Snake. 

Yopjiv's Yarder und Uces 
Diubblps, 

Vhvci- Slikaders. 

Kiitrina Likes Mo Poody 
Yell. 

Hans in a Fix. 

Loedlo Yawcob Strauss. 

How a Dutchman was Done. 

Dot Lambs, vot Mary Haf 
Got. 

The Yankee and the Dutch- 
man's Dog. 

Z^vei Lacker. 

Schneider's Ride. 

The Dutchman and the 
Small iiox. 

Tiamon-l;- en 'l-r Train. 

A Diitrii hi:)!!'- 'J'rstimony 

in a Ste;.!e, iiM.'.l Case. 
Hans Breitiiiaun and the 
Turners. 

FRENCH DIALECT. 
The Frenchman's Dilemma; 

or, Number Five Collect 

Street. 
The Frenchman's Revenge. 
Nonzell and the Organ 

Grinder. 
How a Frenchman Enter- 
tained John Bull. 
Mr. Rogers and Monsieur 

Donise. 
The Frenchman and the 

Landlord. 
The Frenchman and the 

Sheep's Trotters. 



hmen's Funny Mistakes, and 

ion being in its own dialect. 

A Frenchman's Account of 

the Fall. 
I Yantto Fly. 
The G':u'':-<'t-'i Frenchman. 
The r,^ lieliei;;!, and the 

Flea ;■,-■,'.;. i-. 
The Fieie-ijVM.!!! and the 



ats 



Monsieur Tonson. 

"S'a.t Yon Please. 

The J'renchnian and tha 

Mosquitoes. 
The P'lenchman's Patent 

Screw. 
The Frenchman's Mistake. 
Monsieur Mocquard Bo- 

tv.'ceu Two Fires. 



YANKEE DIALECT. 

Mrs. Bean's Courtship. 

Hez and the Landlord. 

Squire Biliinics' Pickerel. 

Deacon Thrush in Meeting: 

'J'he Yankee Fireside. 

Peter Sorghum in Lcjve. 

Mrs. Smart Learns how to 
Skate. 

Capt. Hurricane Jones on 
the Miracles. 

The Dutchman and the 
Yankee. 

Tlue Yankee Landlord. 

The Bewiteried Clock. 

The Yankee and the Dutch- 
man's Dog. 

Aunt Hetty on Matrimony, 

Tlie Couitfn'. 

Ebenezer on a Bust. 

Sut Lovingood's Shirt. 



This Collection contains all the best dialect pieces that are incidentally scattered 
through alarge number of volumes of " Recitations and Readings," besides new an<l 

excellent sketches never before published. ITO pages, paper cover :t«> et.o. 

Bound in boards, cloth back ? i<!> ct.s. 



Pick's Irish Dialect B-eCitatiOnS. A carefully COnipiled Collec- 
tion of P.arelrlsh stories, Comlc, Poetical and Prose Recitaticms, Humorous Letters 
and Funny Recitals,alltold with tlie irresistible Humor of the Irish dialect. Containing 



Biddy's Troubles. 

Birth of St. Patrick, The. 

Bridget O'Hoolegoin's Let- 
ter. 

Connor. 

Dermot O'Dowd. 

Dick Macnamara's Matri- 
monial Adventures. 

Dving Confession of Paddy 
M 'Cabe. 

Fatlier MoUoy. 

Father Phil Blake's CoUec- 
■Mon. 

lather Roach. 

Fight of HeU-Kettle, The. 

Handy Andy's Lit tie Mis- 
talies. 

How Dennis Took the 
Pledge. 

How Pat Saved his Bacon. 

Iri.sh Astronomy. 
Thvi Collection contains, 1 



Iiiish Coquetry. 
Irish Drummer, Tlie. 
Irish Letter, An. 
Irish Philosopher, The. 
Irish Traveler, The. 
Irislnnnn's Panorama, The. 
.limmy MePr;,!, 's Letter, 
.rminiy I'.'itier aedthe. Owl. 
Kinu: 0' Toole and St. Kevin. 
Kitty Malono. 
Love in the Kitchen, 
.'dicky Fiee and tlie Priest. 
Miss'Malony on the Chinese 



jlr. O'li'M.i.ihan's Mistake. 

i':: I'ly l:i:ik.-'sEcho. 

r;ei>!r Fu'_r:i!i's Pedigree. 

Paddy McGrath and the 
Bear. 

Paddy O'Rafther. 

Paddy the Piper. 
, _ _ addition to new and ongiual pieces, all the verybc^t 
Recitations im tlie Irish dialect that can be gathered from a whole library of '^Recita- 
tion" books. It is full of sparkling witticisms and it furnishes also a fund of entertaiK- 

tng matter for pernsal in leisure moments. 170 pages, paper cover '■'-■) tts. 

PouucJ in boards, cloth back uO eta. 



Paddy's Dream. 
Pat and tb.e Fox. 
Pat and the Gridiron. 
Pat and his Musket. 
Pat ."nd the Oysters. 



t's Letter. 

t O'i'aiiiLran's Colt. 

trick O'Rouko and 



the 



Paudeen O'Eafl'erty's Say 

Ycyage. 
Peter Mulrooney and the 

Black Filly. 
PhaidrigCrohOore. 
Rory O'More's Present to 

the Priest. 
St. Kevin. 

Teddy O'Toole's Six Bulls. 
Wake of Tim O'Hara. The. 
Widow Cumrahskey, The. 



Tambo^s End-Men's Minstrel Gags, Containing some of the 

best Jokes and Kepartees of the most celebrated "burnt cork" performers of our 
day. Tambo and Bones in all sorts and manner of scrapes. This Book is full of 
Burnt-Cork Drolleries, Funny Stories, Colored Conundrums, Gags and Witty Kepar- 
tee, all the newest side-splitting conversations between Tambo, Bones, and the In- 
terlocutor, and will be foiiud useful alike to the professional and amateur performer. 
Contents ; 



A Bird that can't be 
Plucked 

Annihilating Time 

At Last 

Bashful 

Bet, The 

Big Fortune, A 

Bluckberrying 

Black Swan, The 

Bones and his little Game 1 

Bones and the Monkey 
Tricks 

Bones as a Fortune Teller 

Bones as a Legitimate Ac- 
tor 

Bones as a Pilot 

Bones as a Prize Fighter 

Bones as a " Stugent " 

Bones as a Traveler 

Bones as a Victim to the 
Pen 

Bones as a Valkist 

Bones assists at the Per- 
formance of a New Piece 

Bones attends a Seance 

Bones finds Himself Fa- 
mous 

Bones gets Dunned 

Bones gets Stuck 

Bones has a Small Game 
with the Parson 

Bones' Horse Bace 

Bones in an Affair of Honor 

Bones in Love 

Bones keeps a Boarding 
House 

Bones on the "VTar Path 

Bones on George Washing- 
ton 

Bones on the Light Fantas- 
tic 



Bones Opens a Spout Shop 

Bones Plays O'Fella 

Bones sees a Ghost 

Bones Slopes with Sukey 
Sly 

Bones tells a "Fly" Story 

Brother will com.e home to- 
night 

Bones as a Carpet Bagger 

Bones as an Inkslinger 

Bones in a New Character 
in Clover 
' Love Scrape 

"Cullud" BaU, The 

Conundrums 

Curious Boy 

Dancing Mad 

Dat's What J'd Like to 
Know 

Definitions 

De Mudder of Inwention 

Difference, The 

Don't Kiss every Puppy 

"Far Away in Alaham' " 

First White Man, The 

Fishy Argument 

Four-Eleven-Forty-Four 

Four Meetings, The 

From the Poiks 

Girl at the Sewing Ma- 
chine 

Hard Timea 

Hard to take a Hint 

Heavy Spell, A 

Highfalutiu' 

Horrible ! 

How Bones became a Min- 
strel 

How Tambo took his Bit- 
ters 

How to do it 



Everything new and rich. Paper covers 
Bound in boards, with cloth back 



Impulsive Oration 

Inquisitive 

Jeallusest of her Sect 

Legal Problem, A 

Liberal Discount for Cash 

:5Ianager in a Fix, The 

Mathematics 

Merry Life, A 

Momentous Question 

Mosquitoes * 

Music 

K otes 

Ob Course 

Our Shop Girls 

Pomp and Ephy Green 

Presidency on de Braiu 

Proposed Increase of Taxes 

Railroad Catastrophe 

Keality versus Komance 

Rough on Tambo 

Sassy Sam and Susie Long 

School's In 

Shakespeare with a Ven- 
geance 

Simple Sum in Arithmetic 

Sleighing in the Park 

Sliding Down the Hill 

Style 

Sublime 

Swearing by Proxy 

Tambo's Traveling Agent 

That Dear Old Home 

"The Pervisions, Josiar " 

Thieves 

Tonsorial 

Toast, A 

Fncle Eph's Lament 

Waiting to See Him Off 

You Bet 

And 40 popular songs and 
dances. 

- Sflets. 
oOtts. 



McBride's Comic Speeclies and Eecitations. Designed for 

Schools, Literary and Social Circles. By H. Elliott McBride, Author of "McBride's 
Humorous Diahigues," etc., etc. This is one of the very best series of original 
speeches, in Yankee, Darkey, Spread-Eagle and village styles, with a number of 
diverting addresses and recitations, and funny stories, forming an excellent volume 
of selections for supplying the humorous element of an exhibition. Contents : 

Stump 



A Burst of Indignation 
Disco'se by a Colored Man 
A Trumpet Sarmon 
Sarmon on Skilletvillers 
Nancy Matilda Jones 
Hezekiah's Proposal 
About the Billikinses 
Betsy and I are Out Once 

More 
A Stump Speech 
About Katharine 
Deborah Doolittle's Speech 

on Women's Rights 
A Salutatory 
A Mournful Story 



An Address to Schoolboys 

Zachariah Popp's Court- 
ship and Marriage 

A Sad Story 

How to Make Hasty Pud- 
ding 

My Matilda Jane 

Courtship, Marriage, Sep- 
aration and Reunion 

Lecture by a Yankee 

A Colored Man's Disco'se 
on Different Subjects 

A Girl's Address to Boys 

McSv/inger's Fate 



Peter Peabody's 
Speech 

Mr. Styx Rejoices on Ac- 
count of a New Well 
Spring 

Victuals and Drink 

Speech by Billy Higgins on 
the Destruction of His 
Rambo Apple Tree 

A Boy's Address to Young 
Ladies 

An Old Man's Address to 
Young Wives 

Salu-ta-tat-u-a-ry 

Valedictory. 



Paper covers, illuminated SOcts. 

Board covers, illuminated SOcts! 



Beecher's Eecitations and Beading's. 

Dramatic. Desicnecl for Public and Private Exhibitions. 



Miss Malouey at tlie Den ■ 

tisfs 
Lost and Found 
Mygel Snyder's Barty 
Mk^dalena 

Jim Wolfe and the Cats 
The AVoolen Doll 
The Charity Dinner 
Go-Morrow , or, Lots Wife 
The Wind and the Moon 
Dyiu' Words of Isaac 
JIaude Mullerin Dutch 
Moses the Sassy 
Yarn of the " Nancy Bell" 
Pji^ldy the I'iper 
Schneider sees " Leah " 
Caldwell of Springfield 
Artemus Vi'ard's Panorama 
Tale of a Servant Girl 
How a Frenchman Enter- 
tained John Bull 
Tiamondts on der Prain 
King Kobert of Sicily 
Gloverson the Mormon 
De Pint wid Ole Pete 
Pat and the Pig 
The Widow Bedott's Letter 
Paper covers. Price 
Bound in boards, cloth baclj 



The Cry of the Children 

The Dutcliman and the 
Small-pox 

Sculpin 

Rats— Descriptive Kecita- 
tlon 

A Reader Introduces Him- 
self to an Audience 

A Dutchman's Dolly Var- 
don 

" Rock of Ages " 

Feeding thsBlaclv Fillies 

The Hornet 

The Glove and the Lions 

I Vant to Flv 

That Dog of Jim Smiley's 

The Faithful Soul 

"My New Pittayatees " 

Mary Ann's Wedding 

An Inquiring Yankee 

The Three Bells 

Love in a Balloon 

Mrs. Brown ou the Streets 

Shoo Flies . ' 

Discourse by the Rev. Mr. 
Bosan 

Without the Children 



Humorous, Serious, 

Contents - 

Signer Billsmethi's Danc- 
ing Academy 

Der Goot Lookin Shnow 

The Jumping Frog 

The Lost Chord 

Tlie Tale of a Leg 

That West-side Dog 

How Dennis Took the 
Pledge 

The Fisherman's Summons 

Badger's Debut as Hamlet 

Ho/.ekiah Stole the Spoons 

Paddy- s Di-eam 

Victuals and Drink 

Ho v/ Jake Schneider Went 
Blind 

Anrelia's Young Man 

Mrs. Brown on Modern 
Houses 

Farm Yard Song 

Murphy's Pork Barrel 

The Prayer Seeker 

An Extraordinary Phe- 
nomenon 

The Case of Young Bangs 

A Mule Ride in Florida 

Dhree Shkaders 

30cts. 
5«Ct8. 



Dick's Ethiopian Scenes, Variety Sketclies and Stump 

Spppchcs. Containing tlie following Rich Collection of Negi-o Dialogues, Scenes, 
Farces. End-Men's Jokes, Gags, Rollicking Stories, Excruciati'ng Conundrums, Ques- 
tions and Answers for Bones, Tambo and Interlocutor, etc. Contents; 
I's Gwine to Jine de Ma- Speech on Boils 



sons 
Jes' Nail dat Minic to de 

Stable Do'— Oration 
But the Villain still Pur- 
sued Her— A Thrilling 
Tale 
Bones at a Free-and-Easy 
Buncombe Speech 
Shakespeare Improved 
End Gag — Bones and Tam- 
bo 
A Man of Nerve — Comic 

Sketch 
End Gag— Bones and Tam- 
bo 
Fncle Pete— Darkey Sketch 
The Rival Darkeys 
The Stage-struck Darkey 
Add Ryman's Fourth of 

July Oration 
Absent-Mindedness — Bones 

and Tambo 
Don't Call a Man a Liar 
The Mysterious Darkev 
Rev Uncle Jim's Sermon 
The 'Possum-Run Debating 

Society 
Tim Murphy's Irish Stew 
Brudder Bones in Love — 

Interlocutor and Bones 
'Lixey ; or. The Old Gum 

Game— Negro Scene 
Brudder Bones' Duel 
Brudder Bones' Sweetheart 
Brudder Bones in Hard 

Luck 
Two Left-Bones and Tambo 
178 pages, paper covers 
Bound in board, cloth back 



How Bones Cured a Smoky 

Chimney 
Sermon on Keards, Hosses, 

Fiddlers, etc. 
Huggin' Lamp-Posts 
Not Opposed to Matrimony 
How Pat Sold a Dutchman 
The Coopers — one Act Farce 
Questions Easily Answered 

—Bones and Tambo 
Examination in Natural 
History— Minstrel Dia- 
logue 
O'Quir'K's Sinecure 
The Widower's Speech 
Bones at a Raffle 
Uncle Pete's Sermon 
Bones at a Soiree— Interlo- 
cutor and Bones 
Speech on Woman's Rights 
Bones' Discovery 
Mark Twain Introduces 
Himself— Characteristic 
Speech 
Speech on Happiness 
Burnt Corkers — Minstrel 

Dialogue 
The Nervous "Woman 
The Five Senses— Minstrel 

Dialogue 
The Dutchman's Experi- 
ence 
Essay on the Wheelbarrow 
Bone's at a Pic-Nic 
The Virginia Mummy — 
Negro Farce 



Brudder Bones in Clover 

Artemus Ward's Advice to 
Husbands 

Wnere the Lion Roareth, 
and the Wang-Doodle 
Mourneth 

Romeo and Juliet in 1880 

Artemus Ward's Panorama 

Brudder Bones as a Carpet- 
Bagger— Interlocutor and 
Bones 

Major Jones' Fourth of July 
Oration 

Curiosities for a Museum — 
Minstrel Dialogue 

Burlesque Oration ou Mat- 
rimony 

Bruduer Bones on the Rag- 
ing Can awl 

The Snackin'-Turtle Man- 
Ethiopian Sketch 

Bones' Dream— Ethiopian 
Sketch 

Come and Hug Me 

Widow O'Brien's Toast 

Scenes at the Police Court 
^Musical Minstrel Dia- 
logue 

Brudder Bones as a Log- 
Roller 

De Pint Wid Old Pete- 
Negro Dialect Recitation 

A Touching Appeal— Dutch 
Dialect Recitation 

Wounded in the Corners 

Darkey Dialogue 

End Gag— Interlocutor and 
Bones 

• SOets. 
50cts. 



Popiaiar Boeks Sent Free of Postage at tlie Prices Annezea. '^ 
Kavanaugh's Juvenile Speaker. For yery little boys and 

giris. Containing short and easiiy-learaed Speeches and Dialogues, ex- 
pressly adapted for School Celebrations, ]ya.y-Daj li'estivals and other Chil- 
dren's Entertainments. Ey Mrs. Eussell Kavanaugh. This book is just tha 
thing for Teachers, as it gives a great number of short pieces for very young 
children, with directiijns for appropriate dresses. 

It includes a complete programme for a May -Day Festival, Tvith opening 
ehorus and appropriate speeches for nineteen boys and girls, including 
nearly forty additional speeches for young and very small childi'en. 

It introduces the May-Pole Dance, plainly described in every detail, and 
forming a very attractive and pleasing exhibition. 

Besides the above, it contains the following Dialogues and Eecitations, for 
two, three or more boys and girls of various ages : 



Salutatory 

Salutatory 

Opening Song 

Opening Heeitation 

An Interrupted Recitation . . . 

An Imaginative Invention 

Speech 

A Joyful Surprise 

An Oration 

How He Had Him , 

The Old Maid , 

The Old Bachelor 

Poetrv, Prose and Tact , 

The Dumb AVife. , 

To Inconsistent Husbands 

Small Pitchers have Larg( 

Ears 

Sour Grapes , 

Kot Worth While to Hate . . , 
A Strike Among the Elowers 

A Witty Eetort 

The Young Critic 

"They Say" 

Speech ".. 

" Angels Can Do IsTo More.''. 
Recitatioji 



1 




1 






13 


1 


12 


1 


1 


1 






1 r 


3 




1 




o 


1 




1 


1 




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4 





HviliduT Speech , 

The Love-Scrape 

■An Old Ballad..... , 

The Milkmaid 

Billy Grimes, the Drover. 

Grandmother s Beau . 

Speech 

Honesty the Best Poliey. . 

The whole embraces a hundred and twenty-three easy and very effective 
pieces, from which selections can " 
girls of from two to sixteen years 



Balance Due 

B-ecitation 

The Coming Woman 

Speech 

The Power of Temper . . . 

Truth and Falsehood 

Heeitation 

Heeitation 

Recitation 

Christmas Eorty Tears Ago. 

Speech 

Trviug Hard 

The School-Boy 

Recitation. 

"ITold You So" 

Speech 

Speech 

Speech 

Choosing a S" ame 

Baby Bye 

Dialogue ■. 

Little Puss 

Poor Men vs. Rich Men 

Helloing Papa and Mamma.. 

Annabel's I irst Party 

The Spendthrift Doll 

The Little Muskrooms 

Yaledictory 

Riding in the Cars 

Riding in the Cars 

Speech 

The Cobbler's Secret ;. 

Dialogue 

Yaledictory 



be made to'suit the capacities of boys and 
of age. 



lorao, illuminated paper cover. Price. 30 Cts. 

" Boards 50 cts. 



Popular Books sent Free oi Postage at the Prices annexed. 



HOWARD'S RECITATIONS. 

Comic, Serious and Pathetic. Being a carefully selected collec- 
tion of fresh Recitations in Prose and Poetry^ suitable for An< 
niversaries, Exhibitions, Social Gatherings, and Evening Par- 
ties ; _ affording, also, an abundance )f excellent material fo2 
practice and declamation. Edited by Clarence J. Howard, 

cok^te:n"ts. 



Miss Malony on the Chinese Ques- 
tion. 

Kit Carson's Hide. A fine descrip- 
tire poetical recitati</ii. 

Buck Faushaw's runeriil. 

Knocked About. Monologiie. 

The Puzzled Dutchman. Dialect 

Shamus O'Brien. Popular recittii ion 

The iiaug-hty Little (jirl. Humorous 

The Bells oi Shandou. Serious poem. 

No Sect in Heaven. A dream. 

Rory O'More's Present to the Priest. 

"Mother's Fool." A Eccitution. 

Queen Slizaheth. A comic oration. 

The Starlijif,^. A recitation. 

Lord DuJidreary"s Riddle. 

The Stuttering- Lass. Amusing re- 
cital. 

TheLrish Traveler. Humorous piece. 

The Remedy as Bad as the Disease. 

A Subject for Dissection. 

The Heathen Cliinee. 

Mona's Waters. Pathetic recitation. 

A Showman on the AYood chuck. 

HoTV Hai^py I'll Be. JJoi'al recitation. 

A Frenchman's Account of the Fall. 

Isabel's Grave. Patlietie r.'citation. 

The Pars' )n and the Spaniel. 

An Irishman's Letter. 

An Ati'ectionate Letter. Irish style. 

The Halibut in Love. 

The Merry Soap-Boiler. 

The Unbeliever. A solemn recitation 

The Voices at the Th.rone. 

Lord Dundreary Proposing. A very 
comic recitation. 

The Fireman. Descriptive piece. 

Paul lievere's Ride. 

Aanieand Willie's Prayer. Pathetic 

A Frenchman on Macbeth. 

The New Church Orpan. 

Katrina Likes Me Poody Veil. Hu 
morons Ditty in Dutch dialect. 

How to Save a Thousand Pounds. 

How I Got Invited to Dinner. 

Patient -Joe. A serious recitation. 

Jimmy Butler and the Owl. 



The Menagerie. A wild beast show 
Old Quizzle. 

The Infidel and Quaker. Recitation. 
The Lawyer and the Chimney- 
sweeper. 
Bill Mason's Bride. A railroad yarn. 
Judging iiv A[ipearances. 
The'Dt'Iitirs Head ; or. Honesty tha 

best Policy. 
Betsey and 1 are Out. 
Betsev Destriivs the Paper. 
Fatlier Blake's' Collection. 
Blank Verse in Kliyme. 
Roguery Tauglit by Confession. 
Banty Tim. 

Antony and Cleopatra. 
Deacon Hezekiah. Description of a 

Sanctimonious Hypocrite. 
The Frenchman and the Landlord. 
The Family Quarrel. A dialogue on 

the Sixteenth Amendment. 
T!ie Guess. Old Eualish Recitation. 
The Atheist cmd Acorn. 
Brotiier A^'at'-.iiis Farewell of a 

Southern iiiuisler. 
Hans in a Fix. A Dutchman's dream 

of Matrimony. 
To-Morrow. Poetical recitation. 
The Higligate Butcher. 
The Lucky Call. The Lost Spectaclee. 
Challenging the Foreman. 
The Country Sclioolmaster. 
The Matrimonial Bugs andtheTraT 

elers. 
Peter Sorghum in Love. Yankee 

story. 
Tim Tuft". A sharp bargain. 
Tlie Romance of Nick Van Stann- 
The Debating Society. Recitatioa, ' 
Deacon Stokes. 

A Trilmte to our Honored Dead. 
The Dying Soldier. Pathetic poetry. 
The "Yankee Fireside. Vankeo 

sketciK-s (;f character. 
The Suicidal Cat. An affecting- talc 
The Son s Wish. A dying father's 

bequest. 



16mo. 180 pages. Paper covers. Price.... 30 ciSi. 

Bound ia boards, cloth oaek ..• ..60 etS 



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MARTINE'S DROLL DIALOGUES 



LAUGHABLE RECITATIONS. 

By Arthur Martine, author of " Martine's Letter- Writer/^ ete.^ 
etc. A collection of Humorous Dialogues, Comic Eecitations, 
Brilliant Burlesque, Spirited Stump Speeches and Ludicrous 
Farces, adapted for School aud other Celebrations and for Home 
Amusement. 



C ON"TEE"TS. 



Hints to Amateur Performers iu Par- 
lor Theatricals. 

Explanation of Stage Directions, 
with Diagram. 

Prelude to an Evening's lieeitations. 
Humorous Poetical Address. 

The Bell and the Gong. Original 
Humorous Eeeitation. 

Mrs. Dove's Boarding House. Origi- 
nal Amusing PLeeitatlon. 

The TVnkiiis Family. A Eeeitation 
full of Puns and Jokes. 

The Lawyer's Stratagem. How he 
triclied the Squire. 

Eulogy on Laughing. A well-known 
popular Eeeitation. 

Drawing a Long Bow. Dramatic 
Dialogue for 3 males and 1 female. 

"Woman. The Origin of Woman's 
Ascendency over Man. 

Veny Eaynbr's Bear Stoiy. A 
thrilling characteristic narration. 

The Game of Life. The Moral Ap- 
plication of a game at Euchre. 

The Fortune Hunter. Laughable 
Dialogue for 2 males and 3 females. 

The Parson and the Widow. A 
short, Poetical Eeeitation. 

Hezekiah Stubbins' Fomih of July 
Oration. A Yankee Stump Speech. 

Make your Wills. Ludicrous Farce 
for 7 male characters . 

Mr. Eogers and Monsieur Denise. A 
celebrated Comic Eeeitation. 

The Darkey Debating Society. Ethi- 
opian Dialogue for's males'. 

The Scandal Monger. Dramatic 
Dialogue for 2 males and 2 females. 

Poor Eichard's Sayings. With An- 
notations by Lord Dundreary. 

Prologue to '^ The Apprentice." 

Address in the character of "Hope." 

, A Prologue for an Entertainment. 

Parody on the Declaration of lude- 
pendenee. 



Bmiesque 



Bombastes F\rrioso. 

for 7 males. 
Characteristic Address. The wail 

of a Printer's Devil. 
Examining de Bumps. Ethiopian 

Dialogue for 2 males. 
Election Stump Speech. Addressed 

to the Electors of Wethersfield. 
A Matrimonial Tiff. Characteristic 

Dialogue for 1 male and 2 females. 
The Frenchman aud the Sheep's 

Trotters. Comic Eeeitation. 
The Poor Eelation; or, Love Me, 

Love my Dog. Comic Drama for 

7 males. 
Vat you Please. Experiences of two 

Frenchmen in England. 
The Babes in the Wood. Burlesque 

for 3 males and 4 females. 
My Aunt. Poetical Eeeitation. 
Handy Andy's Little Mistakes. 

Laughable Irish Story. 
The Cat Eater. Comic Eeeitation. 
A Shocking Mistake. Dialogue for 

3 males and 2 females. 
Wanted a Governess, A satirically 

comic Eeeitation. 
The Ei-\'al Broom Makers. Comie 

Eeeitation. 
Paudeen O'Eafferty's 

Laughable Irish Eecitatibn. 
Mr. Caudle's Wedding Dinner. A 

Curtain Lecture. 
Our Cousins. Negro Dialogue for 2 

male characters. 
Mr. Caudle has been made a Mason. 

Curtain Lecture. 
Address of Ser2:eant Buzfaz at the 

Trial of Pickwick. 
The Wondei'ful Whale-rs. A xevj 

surprising narrative. 
Sam Weller's Valentine. Character 

Dialogue for 2 males. 
Job Trotter's Secret. Amusing Dia- 
logue, for 3 males. 



188 pages. Paper covers. Price 30 cts 

Bonnd ia boards, cloth back >..,,,,,,,,,,,,, ,,50 Cfe 



Popular Books sent Free of Post?vge at the Prices annexed. 
WILSON'S BOOK OF RECITATIONS 

AND 

DIALOGUES. 

With instructions in Elocution and Declamation. Containing a 
choice selection of Poetical and Prose Recitations. Designed 
as an Assistant to Teachers and Students in preparing Exhibi- 
tions. By Floyd B. Wilson, Professor of Elocution. 
CONTEITTS. 



Instruction in Elocution and Dec- 
lamation. 

Dedication of Gettysburg Cemetery. 

Sheridan's Hide. 

There's but oue Pair of Stockings. 

Modulation. 

The Drummer Boy's Burial. 

John Mayuard, the Pilot. 

The Buys. 

The Duel. 

Lochiel'a "Warning. 

Socrates Snooks. 

Mosaic Poetry. 

Burial of the Champion of his Class 
at Yale Collei!,-e. 

Scott aud the Veteran. 

Barbara Frietchie. 

I AVouldu't— Would You ? 

The Professor Puzzled. 

Thanatopsis. 

The Two Poads. 

The Pawnbroker's Shop. 

The Sophomore's Soliloquy. 

The Xation's Hymn. 

Address to a Skeleton. 

A Glass of Cold Water. 

Little Gretchen ; or, New Year's Eve. 

Good Mews ft-ora Ghent. 

The Sea Captain's Story. 

Our Heroes. 

The Closing Year. 

Burial of Lfttle Nell. 

The Picket Guard. 

The Poor ?ilan and the Fiend. 

Our Country's Call. 

The Conquered Banner. 

The High Tide; or, The Brides of 
Enderby. 

Death of vraudentis. 

Don Garzia. 

Past Meridian. 

The Founding of Gettysburg Mona 
ment. 

Spartacus to the Gladiators. 

Sollloqny of the Dying Alchemist. 

The Country Justice! 

Unjust National Acquisition. 

Paper covers. Price 

J^uud in boards, cloth back 



Dimes and Dollars. 

The Dead Drummer Boy. 

Home. 

Kesponsil)ility of American CitiMna. 

The Jesters Sermon. 

Left on the Battle Field. 

The American Fhig. 

Oh! WJiy should the Spirit of Morta-l 

be Proud ? 
Parrhasius. 
The Vagabonds. 
A Bridal Wiue Cup. 
Blanclie of Devan's Last Worda. 
Widow Bedott to Elder Snifflea. 
A Psalm of tiie Fnion. 
Cliarge of a Dutch Magistrato. 
Stars in my Country's Sky. 
Bingen on the Khii.e. 
Keligious Character of President Lia- 

coln. 
The Haven. 
The Loyal Legion. 
Agnes and the" Years. 
Cataliue"s Defiance. 
Our Folks. 
The Be;uitiful Snow. 
The Ambitious Youth. 
The Flag of Washington. 
The Abbot of WaUham. 
Ode to an Infant Son. 
The Scholar's Mission. 
Claude ilcludtte's Apology. 
The Forging of the Anchor. 
The Wrec^: of the Hesperus. 
The Man of Boss. 
No Work the Hardest Work. 
What is Time I 
Brutns's Oration over the Body of 

Lucrctia. 
What is That, Mother? 
A Colio(]uy vrith Myself. 
St. Philip Neri and the Youth. 
The Chameleon. 
Heiiry the Fourth'b l^olUoquy on 

Sleep. 
On Procraatination 
A m:N]Jix. 

30 eta. 

50 eta. 



Popular Books sent !Free of Postage at the Prices annexed. 
BBUDBER BONES' BOOK OF STUMP SPEECHES 



BUBLESaiTE OUATIONS. 

Also containing Hauiorous Lectures, Ethiopian Dialoc>;iies, Plan- 
tation Scenes, IsTegro Farces and Burlesques, Laughable inter- 
ludes and Comic Kecitatious. Compiled and edited by John F. 
Scott. 

C O E" T E X T S . 



If I may so Speak. Burlesque Ora- 
tion. 

Dr. Pillsbary's Lecture on Politics. 

Vegetable Poetry. Dialogue for 2 
males. 

Teco Brag-'s Lecture on Astronomy. 

"We saw Her but a Moment. 

Stocks Tip, Stocks Down. Darkey 
dialogue for 2 males. 

Brudder Bones' Love Scrapes. 

Stump Speech; or, "Any other Man." 

War's your Hoss. Dialogue E-ecital. 

Geology. Dialogue for 2 males. 

Tin-pan-o-ni-on. Pantomime for 
Leader and Orchesti-a. 

Dr. Puff Stuff's Lecture on Patent 
Medicines. 

Sailing. Dialogue for 2 males. 

Challenge Dance. Ethiopian Act for 
.3 males. 

Lecture on Bad Boys. An amusing 
Recitation. 

Tony Pastor's Great TTnion Speech. 

A Tough Boarding House. Conver- 
sation bet'iA'een 2 Darkeys. 

Sleeping Cliild. Dialogue for 2 males. 

Ain't I 'Bight, Eh? Speech. 

"Wonderful Egg. Darkey Dialogue 
for 2 males. 

A Bootiilack's Soliloquy. Darkey. 

Lecture to a Fii^e Company. 

Julius' Peaches. Dialogue for 2 Dar- 
keys. 

De "froulde Begins at Xine. 

The Arkansas" Traveler. Dialogue 
for 2 Violin players. 

Slap Jack. Dialogue for 2 Darkeys. 

Demi-Semi-Centehuial Turkey -town 
Celebration. An Oration. 

"Uncle Steve's Stump Speech. 

A Midnight Murder. Thrilling. 

Dat's What's de Matter. 

The Freezing Bed Feller. Eeeitation. 

Mr. and Mrs. WUkins. 

Paddy Fagan's Pedigree. 

The Bival Darkeys. A ct for 2 males. 

Hans Sourcront on Signs and Omens. 



I Josh Billings on Mosquitoes. 

I Bomantic History of Cap. John Smith. 

I A Speech on AV<")men. Humorous. 

An ImiMsive Peroration. 

The Bet. Dialogue for 2 Darkeys. 

Old Times gone By. Dialogue with 
songs for 2 Darkeys. 

The Echo. Act for 2 ISTegroes. 

Sol Slocum's Bugle. Dialect. 

Western Stump Speech. Highfalutin'. 

In the Show Business. Short Dia- 
logue for 2 males. 

' ' AVe are. ' ' Favorite Stump Oration. 

An Original Burlesque Oration. 

Waiting to see Him off. For 2 males. 

Patriotic Stump Speech. 

De BaUroad Accident. Dialogue for 
2 Darkeys. 

The Dutchman's Lecture on the War. 

Professor Unworth's Atlantic Cable 
Lecture. 

The Three old Ladies. Eeeitation. 

Josh Billings' Lecture onto Musick. 

The ]Mis fortunes of Brudder Bones' 
Lady-Love. Dialogue for 2 males. 

Deaf — In a Horn. Act for 2 males. 

Or any oder Man's Dog. A Speech. 

Happy Uncle Tom. PLaiitation Scene. 

Stick a Pin dere, Brudder Horace. 

Burlesque Lecture on Woman's 
Bights. 

Dafs wot de "Ledger" says. Dia- 
logue for two Darkeys. 

Goose Hollow Stump Speech. 

De Alilk in de Cocoa ^Tut. 

A Dutchman's Answer. 

Lecture on Cats. Humorous. 

The Patent Screw; or, How tobelle- 
venged. 

The Auctioneer. Characteristic. 

Hints on Com'tship. To Young Men. 

A Dutch Bccruiting Officer. 

Spirit Rappi;igs. Bearing Darkey 
Dirdogiio for 2 males. 

Dar'sde Money. From "Othello." 

Let Her Eip. ' Burlesque Leetm'e. 

The Stranger. Ethiopian Scene for 
1 male aiid 1 famale. 



Hun-ki-do-ris Fourth of July Oration. 

16 mo. 188 pages. Paper coyers. Price 30 cts. 

Beund in boards, iUumiuated 60 CfeJ. 



fient trie* ot Postase on Keceij^t ©f Prfe©. 



f he Biblieal Eeason Why, A Hand-Book fo? 

Biblical Students^, and a guide to family Senptme reading. Thia 
worii gives ESAS0i>rs founded upon tJie Bible, and assigned b^ 
She most eminent Divines and Cbristian Philosophers^ lor tiie 
a;reat and ail-aDso?.bmg events lecoicSed m the History of tha 
Bil>Ie tiie Liie of om Sayiom: and the Acts of His Apostles. 

EXAMJ^LE. 

Why dvc. the firs patriarchs attain Whv a th^ ooolc oj i>„ l-'fopii xies oj 

svah extreme lonffevitij IsaiaJi a strong preoj oj the authan- 

IffTiy loa^ tfie term oJ W^ afterwards 'aciiy of th^ whole Bible ? 

shortened- , Ww did our S&mour receive the nam& 

Why one ihere several mamjegt vana- of Jes'dsJ 

tionsmnam^es. laetf, and dates, be- Why did John t/ie Baptiet i/iesitatt tc 

twae.n the books of Kings and Okron- adminisier tfie rUe of Baptism to 

laes ? Jesics i 

This rolnme answers 1,493 simiiar qaestions. Beautifiiily illus- 
trated. Large 12mo, cloth, gilt side and ]>ack $1.5Q 

lOie EeasoB Whys General Science, A eare- 

fed collection of reasons for some thonsands of things which, 
though generally iinown, are imp*irfe3tiy understood. A book 
for the million. This work assigns reasoac: for the thousands oi 
thmgs that daily fall under the eye of the intelligent observer^ 
and of wnich he seeks a simple and clear explanation. 
EXAMP1.E. 



Why does silver tarrdsh when exposed 
toUqht? 



darken, when exposed to tiie eun ? 
"Why is the sky blue f 



What develops electricity in ths 
clouds ? 



Why OM some colors fade., and -others Why does dew/orm re n^d drops upon 



the leaves of plants P 



this volume answers 1,325 sijnilar questions* 356 pages, feonni 
in cloth, gilt, and embellished with a large nmnber of wood- 
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The Eeason Why: Natural History. Giving 

reasons for hundreds of interesting facts in connection with 
Zoology, and throAving a light upon the peculiar habits and iii* 
stincts oi the various orders of the Animal Kingdom. 
EXAMPLE. 



Why has th.e lion such a large mane ? 
Why does the otter, vjhen hunting for 

fish, swim against the stream ? 
Why do dogs turn around ttvo or three 

times before they lie down ? 



dark, and. their under sidles white? 



Why do sporting dogs make what is 

termed " a point ''? 
Why do birds often roost upon one log? 
Why do frogs keep their mouths clo»eA 

while breathing ? 



Why have flat fishes their iipper sides • Why does the wren build several nestt, 



but occupy only one f 



this volume answers about 1,500 similar questions. 
Illustrated, cloth, gilt side and baek= . . c $1.50 



Hent Free of I»ostage o« Receipt of Price. 

Sut Loving'OOdo "5fams spun by *' A Hat-'ral Boro 

Bum'd Fool." Warped and "Wove for Public Wear by '^George 

[ W. KaxnB. Illustrated witb eight fine fall page eDgraTing^ 




flrom designs by Howard. It would be difficult, we think^ to 
cram a larger amount of pungent humor into 300 pages than will 
be found in this really funny book. The Preface and Dedication 
are models of sly simplicity, and the 24 Sketches which foUow 
are among the best specimens of broad burlesque to which the 
genius of the ludicrous, for which the Southwest is so distil?- 
guished, has yet given birth. Cloth, gilt edges. $1.50 

How to Conduct a Debate. A Series of 

Complete Debates, 

Outlines of Debates, and 

Questions for Discussion. 
Jn the complete debates, the questions for discussion are define^^, 
'. the debate formally opened, an array of brilliant argument! 
adduced on either side, and the debate closed according to par* 
hamentary usages. The second part consists of questions for 
debate, ^ith heads of arguments, for and against, given in Sk 
condensed form for the speakers to enlarge upon to suit their 
own fancy. In addition to these are 

A Large Collection of Debatable Questions: 
The authonties to be referred to for iufjonuation are given at the 
close of every debate. By Frederic Eowton. 

232 pages, paper 50 cts. 

Bound in boards^ cloth back- » . f 5 Cts. 



Sent Free of Postage on Receipt of Priec. 

The Secret Out; or, l,00a Tricks with Cards, 

and Other Recreations. Illustrated, with over 300 engi-avings. 
A book whicli explains aU the Tricks and Deceptions with Play- 
ing Cards ever known^ and gives^ besides, a great many new 
ones. The whole being described so carefully^ with engravings 
to Olnstrate them, that anybody can easily learn how to perform 
them. This work also contains 240 of the best Tricks •£ Leger- 
demain; ia addition to the Card Tricks. 




SrN"OPSIS OF CO¥TE¥TS. 



IP ART I. — THclcs with Cards performed 
by skillful Manipulation and Sleight 
of Hand. 

Part 11. — Tricks performed by the aid 
of Memory, Mental Calculation and 
the Peculiar Arrangement of the 
Cards. 

Part ITL.— Tricks with Cards per- 
formed by the aid of Confederacy 
and sheer Atidacity. 

Part IV. — Tricks performed by the 
aid of Ingenious Apparatus and 
Prepared Cards. 

Part V.— Tricks of Legerdemain, Con- 
juring, Sleight of Hand and other 
Fancies, commonly called White 
Magic. 



Part YI.— Tricks in White Magic, 
performed by the aid of Ingenious 
Contrivance and Simple Apparattis, 

Part VII. — Natural Magic, or llecre- 
ations in Science, embracing Curious 
Amusements in Magnetism, Mechan- 
ics, Acoustics, Cheinistry, Hydrau- 
lics and Ojitics. 

Part VIII.— J. Curious Collection o* 
Entertaining Experiments, Amus- 
ing Puzzles, Queer Sleights, Inchid- 
ing the Celebrated^ Science of Second 
Sight, Recreations in Arithmetic, 
and Fireside Games for Family Pas- 
time, and other Astonishing Scien- 
tific Paradoxes and Attractive 
Amusements. 



5?HE Secret Out \^, by all odds, the most curious book that has 
been puljlished in many years, and lays bare the whole machinery 
of magic, and with a simpKcity so perfect that nobody can fail 
to become a domestic magician in a week, with very little study 
and practice. Such is the unerring process of instruction adopted 
in this volume, that no reader can fail to succeed in executing 
every Trick, Experiment, Game, etc., set down, if he will at all 
devote his attention, in his leisure hours, to the subject ; and, 
as every trick with cards known will be found in this collection, 
it may be considered tba only complete work on the subject ever 
published. 400 pages, bound in cloth, gilt. , . . , $1.50 



^ LIBRARY OF CONGRESS 

GOOD BO 020 237 491 8 

Sent IFree of Postage at tlitj j-L-i-jjajs xTj.a,i^n^^*. 

Barber's "^ook of American Ready-Made Speeches 60 cts. 

Dick's Quadrille Call-Book and B all-Room Prompter 50 " 

Tlie American 'Toyle ; or, Gentleman's Hand-Book of Games. By 

"Trumps,' 2 00 " 

The Art and Etiquette of Making Love 60 " 

How to Amuse an Evening Party 30 " 

Frost's Etiquette of American Society 50 " 

Frost's Original Letter-Writer 50 " 

North's Book of Love-Letters 50 " 

How to Shine in Society 25 " 

Dick's Recitations and Readings - 30 " 

Frost's Humorous Dialogues 30 " 

The Banjo, and How to Play It 50 " 

Day's Bookkeeping without a Master 50 " 

Thimm's French Self-Taught - 25 " 

Thimm's German Self-Taught^ 25 " 

Thimm's Spanish Self-Taught 25 " 

How to Learn the Sense of 3,000 French Words in One Hour- • • 25 " 

How to Speak in Public • .•••25 " 

Jack Johnson's Jokes for the Jolly 25 '* 

The Tramp and his Tricks 25 " 

The Modern Hoyle's Games 50 " 

How Gamblers Win 50 " 

Kavani- ^gh's F.umorous Dramas for Private Theatiicals. 50 " 

100 Gamblers' Tricks with Cards • 30 " 

ITncle Josh's Trunk-full of Fun 15 " 

Spayth's American Draught-Siayer 3 00 " 

Marache's Manual of Chess 50 " 

The Amateur Trapper and Trapmaker's Guide 50 " 

How to Write a Composition ..•••. — • 50 " 

The Young Debater and Chairman's Assistant 50 " 

The YcuuF Reporter; or, How to Write Short-Hand 50 " 

"Look to tiieF-ist," Masonic, (Webb Work) 2 00 " 

The Ya-kee Cook-Book 50 " 

How to Mix all Kinds of Fancy Drinks 50 " 

Parlor Tricks with Cards, 70 Engravings 30 " 

Book of oOO Puzzles SO " 

Book of Fireside Games • 30 " 

How to Conduct a Debate ■ 50 " 

Howard's Book of 1,000 Conundrums-..- ••>. 30 " 

The Parlor Magician, 121 Engravings 30 " 

Lander's Tlxposure of Odd-Fellowship^ 25 " 

Fontaine's Dream-Book and Fortune-Teller 40 " 

Day's Reaiiy-Reckoner 50 " 

Book of Riddles, and 500 Amusements 30 " 

How to Make and Keep a Vegetable Garden - 50 " 

Boxing Made Easy • 15 " 

Bruddei Bones' Book of Stump-Speeches 30 ** 

^JerxdCasliOrdsrsto DICK & FITZGERALD, 

P. O. Box 2975. Publishers, New York. 



